4-reflections on specific arts - notebooks of paul brunton

14/5/2015 Reflections On Specific Arts - Notebooks of Paul Brunton

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PaulBruntonPhilosophicFoundationhomepage>NotebooksofPaulBrunton>Category14:TheArtsinCulture>Chapter4:ReflectionsOnSpecificArts

ReflectionsOnSpecificArts

Writing,literature,poetry

1Writingcanremainawayofexpressingthenarrowestandbasestpartsoftheego,astimulanttoviolenceandcoarsenessandanimality.Or,inthehandsofamoreevolvedperson,itcanbecomeasourceofuplifttoothersand,likeanyotherart,evenawayofdevelopmentforthewriter.

2Whenwritingachievesimportancethroughstyleoreffectivenessofexpressionorbeautyofform,ithasattainedthelevelofliterature.

3Ifthewriteristocometoinspiration,heshouldnotbeawareofanyaudience:theonlyreadermustbehimself.Otherwisehedoesnotdohisbestwork,fortheselfconsciousegoisbehinditall,puffedupwithitsownimportance.

4Thecreativewritermustgivehistopicaninwardturnedconcentrationasifhewerelisteningtoamentalvoicespeakingwithinhimself.Theconcentrationmustbeabsolute,withoutdistractionitmustnotevenbesharedwithanybackgroundmusic.

5Wisdomisallthebetterwhenitislikewisewitty.Raisealaughwhileyouliftaman.Mixsomehumourwithyourinkandyoushallwriteallthebetter.Soundsenselosesnothingofitssoundnesswhenitispouredintobright,goodhumouredphrases.Truthisoftencoldbloodedandabathinwarmsmilesmakesitthemoreattractive.

6Thewritermaysetdownwhateverwordcomesintohismindtoexpresshisthoughtinordernottolosethethought,butlaterheshouldnothesitatetocomebackandexaminewhathehaswrittenandruthlesslytochangethosewordsortothrowthemoutaltogetherifhismeaningisnotexpressedwithsufficientfineness.

7Keeponwritingnomatterwhatitisputdownwhatevercomesintoyourheadinthiswayyoudevelopfluency.Thecriticismandcrossingsoutofwhathasbeendonecanfollowatalatertime.

8Thenotionthattheeffectsofinspirationshouldnotbehandledbythelaboursofrevisionisawrongone.Thisisso,first,becausefewartistseverachieveatotalpurityofinspirationhoweverecstatictheircreativeexperiencemaybeand,second,becauseevenifachieveditisstilllimitedbythepersonalnatureofthechannelthroughwhichitflows.Thewriterwhorefusestotouchmanuscriptsagainortocorrectproofsdisplaysvanityorignoranceorboth.

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Wewhoworkinliteratureorpoetrymustlearntoputimagesoftruthorbeautyintothemindsofreaders.Thesensitivepersonistoooftencowedbytheprevailingmaterialisminthesocietyaroundhimandparticularlyinitswayoflifecowedtothepointoffallinginwiththiswayanddoingwhattheothersaredoing.Thisisweaknessandcowardliness,thesurrendertoexternalsuggestion.

10Itisthebusinessofaphilosophicwritertoputamoralvalueandmetaphysicalmeaningintolifeforthosewhocanperceiveneitheronenortheotherinit.

11Theauthorwhoputspenandpaperintofruitfulconjunctionisstatingamessageforothers.Doesherecognizeinthedepthsofhisbeing,hissoul,hisconscience,thathehasacertainmoralresponsibilitythere?

12Ifeelthatitisawriter'sdutytowriteaboutthebest,thehighest,thetruestthingsheknowsandthenonlytocommunicatethesethoughtstoothers.OnlywhenIcanseethemquiteclearlyandamconvincedoftheircorrectness,oughtItostarttoturntoothers.

13Wewhowritehavearesponsibilityforthethoughtformswecreateandletlooseintheworld.

14Weshouldrememberthatapieceofprosewhichupliftsthereaderandgratifiesthewriteristheworkofhisbestmoments.Whatdoeshedowithhislesseronesforhemustbehumbleenoughtoacceptthattheyarethere.IfheiswisehewillacceptthePythagoreanadvicetoworkuponhimself.Hewilldomorethanwelltotransferactivityfromunresistantwhitepapertoobduratenegativetendencies.Thereshapingoftheselfisnotpleasantandnoteasybutitisrewarding.

15WhenthepresenceoftheRealissoineffable,itssecretsoincommunicable,howcananywriternomatterhowdeftandexperiencedputacorrectpictureofitinabook?

16Apieceofwritingwhichlacksliteraryformdoesnothavethepoweroverreadersofonewhichdoeshaveit.Twomenmayutterthesametruthbutonewillhavemanymorehearersthantheother.Stylestillcounts.

17Thebestserviceawritercanrenderistoseekandfinddivineinspirationandtruethinking,andthentooffertheresulttohisfellowmen.

18Nomanwhohasseenhissoul'sgrandeurandfeltitssublimitycouldwriteinadulldrearyinartisticstyleaboutit.

19Inthismatterofcommunicationhemustbecontemporary,producingworkofandforhisowntime,currentandthereforeresultful,aliveandthereforeabletoreachthelivingmorecloselyandmorepersonallythanadeadpersoncouldreachthem.

20Sentencesfreefromvolubleoverdecoration,almostasnudeastheyarenobleideas



phrasedwithverbalthriftsothatmeaningiskeptclearandcommunicationisasexplicitascanbethisoughttobethemodernidea.TherearenotmanycountrieslefttodaywheresuchopenspeechaboutreligionJewish,Christian,Islamic,orotherwisewillbepunishedbyexecutionorpersecutionforheresy.

21Playingwiththepowerofwordstogivenewforms,newexpressions,newimages,andnewmantramsforthespiritualrevivificationofman,thewriterofvisiontrulymakestheWordbecomeflesh.Hisgiftsshouldbevaluedaccordinglyandreceivedgratefully.

22Whenawriterfeelsthattheflowofthoughtrunssmoothly,heshouldnotinterrupttheworkbytakingtosomeothertasktemporarilyorletanyoneelseinterruptit,butshouldtakeadvantageofthispeakperiod,asonemightcallit,forwhenhepicksitupagaintheworkmaynotrunsosmoothly,becausetheinnerpushisabsent.

23Awritercannotworkproperlywhensurroundedbynoise,whencompelledtoworkatconventionalhours,whensociety,neighbours,andwouldbefriendlypersonsintrudeuponhim.

24Thenimbleuseofwordsisnotaloneasatisfactorysubstitutefortheaccurateuseoffacts.

25Itishardforanauthortoeffacehimselffromhisproduction.Notonlyisthisso,butaonepointedattentionisalsoneededinthereader.Hecandosoonlyifhepossessesthecapacitytobesocompletelyconcentratedintheworkastoforgeteverythingelse.Thisachieved,thepersonalegowillnaturallybeabsent.

26Abuddingauthorusuallythinkshisworktobefarbetterthanitreallyis,whereasthemature,proficientoneishisownbestcriticalwaysreadytoamend,revise,cancel,andchangewhathehaswrittenearlier.

27Oneshouldbewillingtoexaminecarefullywhathehassaidordoneorwrittenandheshoulddoitnottopraiseitbuttocorrectorimproveitimaginatively.

28Thevalueofdocumentationinabook,whetherthroughfootnotesortext,isthatitanswerscriticsoropponentsholdingoppositeviews,inadvancewithfacts,andalsothatithelpstopreventthemaliciousfalsificationordistortionofhistory.

29Heshouldknowthatnoman'sworkissogoodthatitcouldnotbebetter.Saveforthepleaoflackoftimeawriterisprudenttorevisesentencesandevenpolishphrases.Assoonasheassumesthemantleofvanityhisworksuffers.

30WhenanauthorcaneffectcontactwithhisOverselfhiswritingbecomesaspiritualactivity.Itinspireshim,teacheshim,upliftshim.

31Howoftenhewillhavetoerasewordsandalterphrasesandimprovesentences,ifhiscommunicationistofitthethoughtwhichhisintuitionhasgivenhim!



32Inspirationismorevaluablethaninformation.Butthewriterwhocanimpartbothtohisreadersrendersthemthebestservice.

33Donotallowstylizingtousurpthethroneoftruthdonotletmannerismgetoutofhand.

34Thesamefactwhich,whenpresenteddrilyandlogically,leadstonoresultmay,whenpresentedvividlyandimaginatively,leadtoastirringoftheemotions.This,inturn,mayleadthemantotakeaction.

35Techniquedoescount.Sentenceswhichareslipshodinconstructionirritatethereader,andphraseswhichareawkwardinformobscurethemeaning.

36Ifhisthinkinguponthismatterislogicalandcoherent,andiftheexpressionofhisthoughtsisgrammaticalandaccurate,thenthosewhoseektolearnfromhimwillhavelessdifficultyinunderstandinghim.

37Thewriterreduceslifetowords,thatis,tomeresymbols.

38Writewhatcanbeusefultoothers,whatwillsimplifytheteachingforthem,andwhatwillleadthemtoseekthesourcewithintheirownbeings.

39Evenifnobodywantstoreadhisbookstheauthorofconcentrated,welldone,orfinelyinspiredworkbenefitshimselfinternally.

40Thepoetwholivesattimesfromthisprofounderselfwilllinkhiswordswithwordsasothersdo,andhisrhythmswithrhythms,butthedifferenceoflevelwillappearintheireffect.

41Whenhewritesathisbest,whathewritesmaybeonahigherlevelthanhimself.

42Ifawritercanputhistheme,case,statement,orargumentonlyinshrillhysterictones,youmaybesureheisanillbalancedperson.

43Complimentarylettersfromreadersmayfattenanauthor'segoifheisnotcareful.Itisthereforegoodifthereisasufficientleavenofcriticism,orevenabusiveletters,fromthosewhodislikehisworkorwhodisagreeviolentlywithhisideas.

44Theequilibriumofawrittenpiecemaybeupsetandthemeaningsomewhatfalsifiedbyputtingtoomuchstressoraccordingtoolittleweight.Aprudentbalanceisessentialinexpressinganyparticularidea.

45Goetheonwriting:"Ihavethewholethinginmyheadandonlyneedthemoodtowrite.IwrotedownlittleornothinguntilIhadworkedoutmostofitindetailinmyhead."



46Wemustwritefromwhatweknow,fromourownexperience,fromwhatweobserveasfactsaroundus,butwherewecannotdoeitherwemuststatethatatheoryisonlyatheory,howeverplausibleandgooditmaybeandhoweverworthourhoarding.

47Therearedifferentwaysofmakingnotesandmarkingbooks.Therearealsodifferentcolourswhichappealtosomewritersandnottootherones.QueenVictoriascribbledherthoughtsordecisions,suggestionsorcommentsonofficialreportssubmittedtoher:allwereendorsedwithavioletcolouredpencil.AliceBaileywroteherArcaneTeachingbookswithanordinaryblackleadpencil,neverwithpenandink:shegotinnercontacteitherwithherhigherselforwithherguru'smindthatway,sheexplained.

48AldousHuxleyhasoutgrownhismerelyrationalisticstageandbeguntoexpressmysticalideas.Thisisamostgratifyingadvance.Buthehasfallenintothecommonerrorwhichmakesthequietistidealthesupremeideal.Hemaytrytorefutethisactivistoutlookasbeingmysticalheresy.Hemayevenwriteawholebook,suchasGreyEminence,toshowthemisfortunesbroughtonhiscountrybyaFrenchmysticleavinghismonasticretreattomeddleinStateaffairs.ButHuxley'sefforthasbeenavainone.ItisjustaseasytowriteanotherbookshowingthegoodfortunebroughttohercountrybyJoanofArc,alsoaFrenchmystic,throughmeddlinginStateaffairs.Inthismatter,IwouldratheracceptPlato'steaching,thattrueknowledgecompelstoaction.AndPlato'sphilosophywassurelyamysticalone.ButtherearetwofactswhichrefuteHuxley.First,thereisnosuchthingasinaction.Nomaninhissenseswillspendeverydayeveryyearincontemplationalone.Hehastogetupanddosomething,evenifitbeonlyeatinghisdinner.Alifeofcontinuousmeditation,withoutanyinterruption,wouldbeimpossibleandundesirable,impracticableandunbalanced.EverywhereinNatureweseestrivingandactivity.Formantoattempttorefrainfromboth(asifhereallycould!)inthenameofanexaggeratedunbalancedandpervertedsurrendertoGodistomisunderstandGod'sthatis,Nature'sworking.Second,therefusaltoactisitselfakindofactiontherealavailablechoiceisonlybetweenonekindandanother,betweengoodactionandbadaction.Walkingaboutinthemonasticcellisasactiveadeedaswalkingaboutinthestatesman'schamber.Butwhetherwetakeashortoralongviewofthematteritisamistaketoregardtheworldlylifeasnecessarilymaterialisticandsordid.Menmaymakeitsoortheymayennobleit.Theevilorthegoodisintheirthoughtofit,thatis,inthemselves.ThenotionthatthequestoftheDivinemustnecessarilyleadtodenyingthesocialanddespisingthehistoricalbelongsonlytoanunripenedandimperfectmysticism.Thefactisthatnomysticalexperienceandnometaphysicalideacancompleteourdutytowardslife.Theyarenosubstituteforrightconduct.

49IagreewithIsraelZangwill,whenheremarkedatapublicspeech,"Itisalwaysamistakeforaliterarymantoshowhimselfinthefleshthefleshisgenerallyalittledisappointinganauthorshouldbeadisembodiedspirit!"

50Manywritersgetintoanexcitedstateabouttheworktheyhappentobeengagedin,butfewhavealsogottenintoastateofentrancement.Inthelattercase,theworksproducedseemtohavehadconsiderableeffectuponthereadersandmadequiteanimpressionupontheirfeelings.Threewritingscometomindimmediately:thefirst,WaltWhitman'sLeavesofGrassthesecond,JoelGoldsmith'sfirstandmostcelebratedwork[TheArtofMeditation]andthethird,AllenGinsberg'sHowl.

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Wordsareclumsythingswithwhichtoexpresstheseetherealmoods:atelepathicconcentrationontheonesideandapassivemeditationontheotherwouldbebetter.Butfailingsuchsilentinnercontact,whatelsecanweusebutwords,ormusic,orsomeotherartform?

52T.S.Eliotistoooftenaneuroticwriterofthe"precious"school,begettingmuddledmysticalnonsense.Hisreputationisoverratedpartlybecauseoftheportentousairhegiveshimselfandpartlybecauseheissufficientlyincomprehensibletoputhimselfoutoftheherd.ButinTheCocktailParty,whereheleavesverseforplaywriting,herisestoatrulysuperiorandtrulymysticallevel.

53WhenWordsworthfirstsawthatbeautifulstructureTinternAbbey,hewasupliftedtoaspiritualplane.HeputhisfeelingintoapoemwhichthosewhocouldnotvisittheAbbeycouldread.Aglimpsewhichinspiredoneartformwastransferredtoanother.

54Therearethosewhoclaimthepoeticvaluetobeasimportantasanyotherwhomakepoetrysynonymouswithspiritualitywhorankitattheheadofallthearts."WhenIreadpoetrythereisevokedinmeasenseofbeauty.Myfeelings,however,godeeper...IapproachGodthroughpoetry.Thisisthetrueexperienceofadeepsearchingperson."TheselineswerewrittenbyRyoseninthefirstfewyearsofthiscentury.HewasaleaderoftheyoungintellectualsinJapanbutdiedinhisthirties.Hebeganasadevoutreligionist,becameascepticalrationalist,butinthelastfewyearsofhisshortlifemovedoverintomysticism.

Helaterexplainedtheabovequotation:"Thesphereoftruthandthesphereofpoetryarefromtheoutsetdifferent....Totheextentthatwepenetratetotheinnermostpartofhumanlife,truthandpoetrydrawclose...nowinharmoniousunion."

55Iconsiderpoetrytobeagrandformofhumanculturebutpoetstobe,quiteoften,victimsoftheirownconceit,emotionalism,hallucination,andwishfulthinking.Platoseverelycriticizedthem.MuhammedwroteharshlyintheHolyKoran:"Andastothepoets,thosewhogoastrayfollowthemdoyounotseethattheywanderaboutbewilderedineveryvalley?Andtheysaythatwhichtheydonotdo."

56PlatobanishedpoetsfromhisidealRepublicbutneverthelesshecrownedthemfirst.Bydoingsoheacknowledgedpoetry'swelldeservedprestigebutalsoitsdanger.Forpoetsaremoretempted,becausemoreresponsivetofeelings,toexaggerateorsometimeseventofalsifyintheirattemptstoweaveanemotionalatmosphereandcreateaninfluentialeffectuponthereaderbyusingmetaphorsandfiguresofspeech.Ofcoursethatwouldnotmeanadeliberatefalsificationbutratheracarelessnessabouttruth.Unfortunately,truthwasPlato'sprimaryvalue.Takethefamousandbeautifulline:"Aroseredcity,halfasoldastime."Notetheexaggerationconcerningtime.

57Iamnotaloneinregardingthemysticaldeliverancesofpoetswithspecialcaution.Quiteunconsciously,andbecausetheyarecarriedawaybyemotion,theirsenseoftruthbecomesimpaired,theircapacityforjudgementimperilled.Moreover,poetryisconcernedwithpersonalfeelingsprosecanascendhigherandexpresstheimpersonalandtheuniversal.Hencethepoetissooftenanegotistwhereasitiseasierfortheprosewriter,sofarashisworkgoes,tobeanaltruist.Newman,althoughhimselfaCatholic,



criticizedFaber'swritingsinfavourofPapalInfallibilityasfollows:"Judiciouspeoplethinkthemcrudeandyoung,perhapsextravagant.Hewasapoet."

58Poetryisakintomusicinthatitappealsmoretofeelings,andfeelingsintheendaresoimportantthattheypushusintoactionsanddeeds.Butfeelingscanalsomisleadusandendangerusthereforetheyneedtobebroughtintoequilibriumwithreasonandevenmorewithintuition.Henceapoemwhichcombineswisdomwithitsbeauty,thoughtwithemotion,willserveitsauditorsbetterintheendthanonewhichdoesnot.

59Anauthorisnotalwaystobejudgedbyhisbooks.Sometimesheismuchbetterthanhiswritingssometimestheyaremuchbetterthanhe.Thereasonisplain.Inspirationraisesthewritertoahigherlevelofbeinghisinspiredmomentsrepresentthepeaksofhischaracter,butafterwardshemustfallbackintoeverydaynormalcy.

60AnautobiographycanbeandmostofteniswhatGuide,theEnglishVictoriannovelist,nowsoforgotten,calledadegradingformofvanitywhichherefusedtowritedespitetherequestofpublishers.Butitcanalsobeaworkofutilitytothosewhoreadit,evenofwisehelpfulinstructiontotheyoungerpeoplewhohavetofindtheirwaythroughthedifficultiesofearlylifeandthedeceptionsoflaterlife.

61Whenwillpeopleunderstandthattheycomeclosertoawriterbystudyinghisideasratherthanbymeetinghimintheflesh?Thoreauoncesaid:"ThebestofmeisinmybooksIamnotworthseeingpersonally."

62Allimperishablepoemshavethissamequalitytheyworshipbeautyofthehighestkind.

63TheRazor'sEdge,bySomersetMaugham:ThegurudescribedinMaugham'snovelisacompoundofRamanaMaharshiandothers,butthedescriptionsarefancifulandtheeventsunreal.TheashramisgreatlyexaggeratedandtheyoungAmericanrisheehasnotyetexistedonearth.Maughamisanewcomertothesethings,anyway,andcannotgetevenaquarterofaninchbelowappearances,whileoftensoakingincloudsofselfdeception.Neverthelesshehascomeoutofagnosticismtothishigherstandpointitisgoodtoknowthathewrotethisnovelinsteadofconcentratingexclusivelyonsex,asinhisotherstories.

64ThemaligndestinywhichsnatchedtheyoungKeatsandShelleyfromphysicallife,whichkeptthegiftedByroncaptiveofhisphysicalpassion,deprivedthemoftheirchancetocometospiritualmaturity,andtheworldofagreaterdeeperpoetry.

65OnceW.B.YeatswroteinadmirationofShankara'steaching.Butinmiddleagehemarriedandlaterrevisedhisviewsandthenwrote:"Ah,howmanyyearsithastakenmetoawakefromoutofthatdream!"

66Thepoetshouldbringustoadoreanupliftingbeauty,notplungeusinamadfrenzy.

67ThesensualweaknessestowhichwriterslikeD.H.Lawrencedevotedsomuchoftheir



literarytalent,insteadofbeingregardedasmorallyundesirable,cametoberegardedaspraiseworthyvirtues!Itwasforgottenthattheprudentmanwillcontainhisdesireswithinreasonablelimits,ifidealsandnotcapricesaretorulehislife.ItistruethatLawrencepossessedideals,evenmysticalones,butlackedprudence.Inshort,hewasunbalanced.

68WhatD.H.Lawrencewroteinoneofhisprivateletters"IfeelsometimesthatIshallgomad"isthekeytoboththemanandhiswork.Onepartofhisbeingwas,inhisownwords,"damnablyviolent"butanotherandashegrantedadeeperpartrespondedto"thekindnessoftheCosmos."Hewasadisjointeddisconnectedman,aseerfilledoftenwithbitterspleen.

69LeslieA.Fiedler,summarizinganarticlein"CEACritic,"May1974,said,"PopularLiteraturesentimental,horror,pornographictitillatestheemotions,releasingthereaderfromrationalityandallowinghimamomentofecstasy.Todefineatruemajorityliterature[i.e.,lowculturalP.B.]weshouldevaluateaworknotbyethicsoraesthetics,butbytheecstasyitproduces."CommentbyP.B.:Ifaliteratureofrefinedculturaltaste,matureintellectualstatements,andcivilizedcourtesyistoberejectedbecauseitadmiresselfcontrol,thenwesurelyshallmovebackwards.

70Idonotunderstandmuchinmodernart,modernpoetry,andmodernliterature.WhenIhearonallsides,fromprofessorsincollegesanduniversitiesmoreparticularly,thoseinAmericaninstitutionswhenIhearthemplacingJamesJoyce'swork(especiallyhisUlysses)amongthecreationsofgeniusandfulsomelypraisingit,Iamdumbfounded!IfeellikeMansfieldwhen,aftertryingtoreadthisbook,shewrote,"Thisisthefuture,andI'mgladI'vegottuberculosis."Asweknow,shediedfromthisdreadfuldisease.IdonottakesoblackaviewashersbecauseIbelievethefuturecontainspositiveaswellasthisnegativematerial.

71Shelley'sdeathatanearlyagehasoftenbeenlamented.Yet,leavingasidetheelementsoffateorkarma,wemayseehowthenegativequalityofimpatiencecontributedtowardsit.Hehadboughtasmallsailingvesselduringhisresidence,ontheItaliancoast.Hewentonajourneytopurchasesuppliesandtotendtoothermattersandthenwasabouttoreturntotheresidence,wherehiswifeandchildawaitedhim.Itwasonlyoneday'ssailingfromwherehewas,butanexpertseamanandalsothelighthousekeeperwarnedhimthatastormwascomingandthathewoulddobettertopostponehistripuntilithadpassed.Hedidnotlistentothemowingtohiseagernesstoreturntohiswife,andhesailedaway.Withinaveryshorttime,quiteshort,thestormsuddenlyappeared.Therewereviolentupheavalsofthewater,andthelittleshipdisappearedbeneaththewaves.Thisishowhewasdrowned.ShelleywaslostwithitatleastthelivingShelleyforhisbodywasrecoveredlater,andhumanitywasdeprivedoftheproductsofhisbrightgeniusatastillmorematureage.

72ThemodernversemovementintheEnglishlanguagecameintobeinglargelythroughthepioneeringeffortsofT.S.EliotandEzraPound.OfthefirstmanIhavelittletosay:hewasagoodman,atalentedman,aspirituallysensitiveman,butinthisefforthewasmisguided,andwouldhavedonebetterfortheworldifhehadnevergottenassociatedwithPound,whowasabadinfluenceonhim.

73Itispardonableforpeopletoexpectawritertoincarnatehisownwords.Thiswould



seemnecessaryifheisnottobeahypocrite.Buttheyforgetthathisbestwritingcomesoutofhisbestmoments,thatsuchtimescomeonlyatintervals,thatsuchlevelsareinspired,hencebeyondorabovehisordinaryones,andthatlikealltrueartistsheisusedtopaintidealsforthebenefitofhimselfaswellasotherpeople.Theidealhasitslegitimateplaceeventhoughthereisatimegapbetweenitandtheactuality.Weneednotbeharshlyovercriticalofthewriterwhoportraysitbutisunabletolivebyitshigherstandardtoday.Ifheissincere,hewillarriveatitanotherday.Ifheisnot,hestillrendersausefulservicedespitehimself.

74Thosewhoseliteraryactionscomenotoutofgoodwillbutoutofhatehurtthemselvesaswellasothers.

75ItmaybeaskedwhyPlatobannedthepoetsfromhisidealRepublic.Isitnot,perhaps,becausepoetryseekstomovethefeelingsofitshearersorreadersandthatfeelinginducedfromoutside,asbypoetry,canbecarriedtoanextremepointandsweepamanoffhisfeet,asthesayingis,sothatheactsonimpulseorfromungovernedemotionandpassion?

76Therearepiecesofprosewhicharealmostpurepoetry,andtherearelinesofversewhicharealmostpureprose.

77Themostintelligentofwritersaresometimestheleastintelligentofphilosophers.

78Nietzsche'sdistortedsemimysticismsetupbeforeeducatedpeopletheidealofabarbaricSuperman,andOswaldSpengler'sdistortedintellectualismledthemtodrawthefalselessonfromhistorythatmanisalwaysabeastofprey.

79NietzschewasalunaticwhorejectedJesusbutacceptedSocrates,anasceticwhodenouncedhedonism,andafirebrandadmiredbytheNazis.

80Thereisthisweaknessinthepoetwhoisonlyapoetandnothingmorethatheislikelytoacceptalmostanythingastruth,provideditbebeautiful.

81Whoeverwritesforpublicationisinapositionofpublictrust.

82Thesculptedwood,castmetal,orcarvenstoneimagespeaksinstantlytoall,butthewrittenwordonlytothosewhoknowthelanguageused.

83Thereisadifferencebetweenthosewhoreportintheirwritingsandthosewhocreate.Thefirstarecarriedawaybythemoment'shappenings,thesecondlookdeeperandfindweightierthings.

84Thepoet'slanguageisnecessarilyrichinmetaphorandsimilebecausehehimselfisrichinimagination.

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NobodycouldlooklesslikeamysticthanWalterRussell,yethislongpoemTheDivineIliadisakindofworkweassociatewithhirsute,eccentricdreamers.

86Whenanyonereadsabook,hecomesintomentalcontactwithanauthorthatistosay,withacreaturewhoisapartofahumanbeing.Butwhenonemeetshiminpersonhemeetstheotherpart.Hewillseethedifference.

87Inbiographyandautobiographyhewillgetsomethingofthethrillofreadingfictionyetpossessthesatisfactionofdiscoveringtruth.

88Tonelessversesfallsomewhatflatintheear.Meaninglessonesoffernonourishmenttothemind.

89Shakespearehasbeenjustlypraisedandadmiredforhisextraordinarydramaticgeniusandforitsunusualbreadthofsubject."Unique!"weexclaim.AndonthefewoccasionswhenheallowedalittlephilosophytocreepinandinterruptthestorywebegintowonderwhetherFrancisBacondidwritetheplays.

HowdidthesamemancometocreatesobrilliantaplayasTheMerchantofVeniceandthenstuffitwithsuchnarrow,rabid,andunkindlyprejudice?Howcouldhefallintothecommonsuperstitionwhich,foroverathousandyears,ledtowidespreadintoleranceandpersecution?

90ThekeytoHenryMiller'srealcharacterisplainfromhisownconfession:"...thelifeofthestreets,ofwhichInevertire.IamacitymanIhatenature,justasIhatetheclassics."Thereisrevealedallthecommonnessandvulgarityofhischaracter,thecoarsenessoftaste,thelackoftrueculture.

91NormanMailerhasenormouscreativepowersheisunquestionablyagenius:butthisdoesnotstophimfrombeingsomewhatmad.

92Wilde'shighlycolouredparadoxlovingalliterativestyledegeneratedfrombeingameansintobecominganend.Truthwassacrificedtostyle.

93"ElbertHubbardhadhismomentsbeforebigbusinessgothim,"isStuartChase'scriticalappraisalofthisgreatAmericangenius.Whethersoornot,thewisdomexpressedinhiswritingsandtheoriginalityexhibitedinhisprintingswereinspired,aswemightanticipate,byalivingfaithintheesotericphilosophy.

94OfthefivemostfamousRussianwritersofthenineteenthcentury,Tolstoywasthemostpowerfulwriterofthemall.Hewasalsothemostspiritualandmostinfluential.Butinhimselfhewasanillbalancedman.Dostoevski,whoisusuallypraisedasbeingthemostspiritual,wasthemostreligiousbuthewasanemotionalpsychopathinlovewiththeideaofsuffering.Heneededstraighteningout.Turgenevwascompetentandtalentedbutquiteworldly.MaximGorki,althoughbutamaterialist,wasfairlysensibleandanexcellentwriter.ItwouldnotbefairtocompareChekhovwiththeothers,because,althoughhisworkwasalwaysgood,hewroteplays,whichtheothersdidnot.



95WhenwefindthatleadersinEnglishliteraturelikeSomersetMaughamandAldousHuxley,whoreceivedsupremehomagefromthemostcultivatedandsophisticatedaudienceoutsideFrance,bravelyturnedfromscepticismtomysticismdespitethehowlingofdisappointedfollowers,wefindaphenomenonworthlookinginto.

96Poetryprovidesimagesforthemindtodwellupon.Ifitisinspired,thoseimagesbringmantoahigherplane.

97Toomuchofmodernliteraturehastoolittleofgreatness,letalonenobilityorgoodness.Whereitisnotmorbidlypathologicalitisaggressivelyscatologicalwhereitisnotcriminallyviolentitisabsurdlytrivial.

98Aprintedpagehasserveduswellifitenablesustomeetafinercharacter,ariperintelligence,andadeeperknowledgethanourown.

99Tolstoy,intheearlierperiodofhislife,createdsomeartisticpieceswhichgavehimEuropewidefame.Butinthelaterperiodofhislife,whenagloomysaturnineasceticismheldhismind,hepreachedmoralizingsermonsinsteadandpuritanicallydenouncedart.

100Itmakesallthedifferencepossibleifamanplowsthroughtwentybooksinordertoputoutthetwentyfirstonthesubject,orifhewritesitoutofdirectfirsthandknowledge.

101Theinterestinphysicaladventurestoriesisasignofadolescenceand,whentheyinvolvecrime,ofundisciplinedadolescence.

102TheworkofEmerson'spenisexcitinglyinspiredandserenelybeautiful.

103NoboatfromAmericabroughttheotherfourcontinentsmoreinspiredwritingsthanthatArgosyanvesselwhichlefthershoreswiththefirstpublishedworkofR.W.Emerson.Therearesomeofhisphraseswhichholdthememoryasinavice!AndEmerson'sskyisalwaysblue.However,IwasnotalwaysinthisperfectconcordwiththeConcordphilosophy.WhenIfirstcametoEmerson'spages,asagreenandguilelessyouth,Ifoundtheepigrammaticnutsofhiswisdomtoohardfortheteethofmyunderstanding.SoIputhimasideforafewyears,andthen,withstrongermolars,successfullyrenewedtheattack.

104Agoodbookwhichrevivesinspirationorinvigoratesreasonisasblessedtowriteastoread.Itscostisnoadequatereturnanditsauthorcanneverbeadequatelythanked.

105DespitethevolumeandvarietyofBertrandRussell'scommentsandconsiderationsuponlife,Ihavecomeacrossnointerestintheappreciationorcultivationofbeauty.Doesthisnothelptoexplainhismysticaldeficiency?

106OnthistopicofwritingIwouldliketoquotefromanexperiencedwriterhimselfamanwhowroteoveronehundredbooks,thoughIdoubtwhethertheyareatallreadtoday.I



methimonlyonce.HewasastaunchCatholic,highlydogmatic,butverydevotedtothevaluesofcontemplationeventhoughhewastoobusyamantopractisethemmuch.HewasviolentlycriticalofmostthingsandmostleadersinsocietysomuchsothatheabandonedhismembershipintheBritishParliamentindisgust.HisnamewasHilaireBellocandhewroteaboutwriting:"Theworstenemyofprosetodayisthesnobbishnessofrulesandforms...themumbojumboofhieraticprescription."

107Theyoungwriterhasonegreatdefectandonegreatlack.Thedefectisthatheisirresponsiblethelackisthatheisinexperienced.Themature,perhapsmiddleaged,writerismuchmorecautious,muchmorecarefulofthewordsheuses.

108ItisagreatandwidespreaderrortoidentifythebestmodernpoetrywiththedisciplesofEzraPound,asthenaveMr.T.S.Eliot,himselfoneofthem,did.PerhapsweowethisbitofliteraryfoolishnesstotheAmericanprofessorsofEnglishLiterature,notnecessarilybecausePoundwasalsoAmericanbutbecausetheyweretoonavelyledastraybytheeditorsandeditressesofpoetry's"littlejournals."

109Ifbothbeautyandmelodyareremovedfromapoem,whatisleft?Callitwhatyouwishbutdonotinsultreadersbycallingitpoetry.

110Thewriterwhocontinuescivilizedculturaltraditionsmayalsobeacreatorofcultureitself.

111Donotseektomeettheauthorofamysticnobleorwisebook,foryoumaysufferdisappointment.Youexpecttofindhimsuperiortohisbookbutthenheisrevealedasinferiortoit.(Notalways.)

112Abookwhichevokestheintuitiveinyou,howeverbrieflyorspasmodically,orwhichawakensyoutonewerrecognitionordeeperperceptionsisitselfagurutothatextent.

113WhatIappreciateaboutCardinalNewman'spersonalityandwritingisexactlywhatrepelsothers.Iappreciatehisaristocraticattitude,hisrefinedspeech,hisdignityandquality.

114IwouldliketogivemyselfthepleasureofquotinghereawriterwhosepersonalityIesteemedwhenhewasaliveandwhosebooksIadmireA.E.,theIrishpoet.

115SeventyyearsagothatversatileIrishmanwhousedthepennameA.E.publishedhiscollectedpoems.Hewasagiftedpainteraswellaspoet,economistaswellasaproseessayist,clairvoyant,seer,and,whenImethim,moreofasage.Lookingthroughhisverses,Iselectafewlineswhichimpressme:

1.ThepowerisourstomakeormarOurfatehasontheearliestmorn,TheDARKNESSandtheRADIANCEareCreatureswithinthespiritborn.



2.TheWisdomthatwithinusgrowsIsabsolutionforoursins.

3.Hedoesnotlovethebendedknees,ThesoulmadewormlikeinHISsight,WithinwhoseheavenarehierarchiesAndsolarkingsandlordsoflight.

4.HefeltaninnersecretjoyAspiritofunfetteredwillThroughlightanddarknessmovingstillWithintheALLtofinditsown,Tobeimmortalandalone.

5.DarkchurcheswheretheblindMisleadtheblind.

6.Untothedeepthedeepheartgoes,ItseeksadeepersilencestillItfoldsitselfaroundwithpeace,WithfoldsalikeofgoodorillInquietnessunfosteredcease.

116D.H.Lawrencetoldafriendwhowasatthedyingnovelist'sbedsidethathecouldfeelhimselfwithdrawingfromthephysicalbodyyetatthesametimelookingatthescenefromoutsideasifhewerefloatingaway.

117RalphWaldoEmerson'sintellectualwayoflifeisagreatstandbyformany.Onecouldnotwishforafinerexample.

118Somespiritualbooksarewritteninadull,almostdeadmanner.Thewritersseemtobelievethatbecauseperchancetheyarewritingofanancientwisdom,theymustbedullandmournful,withnomorejoyintheirworkthanthereisintherumbleofahearse.

119Thosewhocanonlylearnbytrialanderrorwillcontinuetodoso.Theresultsareimportantonlytothemselves,andtoafewothersintheirorbits.Butwhenthetrialismadebywritersandtheerrorispassedontonumerousreaders,thesituationwhichdevelopsbecomesofwiderimportance.

120EarlyinthenineteenthcenturyayoungwriterunexpectedlybrokeinuponBritishattention,electrifyingpeoplewithhisthoughtandphrasealike.ThatmanwasCarlyle.Outofhishermitlikemeditationsuponhisepoch,heemergedtopealforthinthunderoustonestheplaintofatruthseekerinanageofsocialshams.

121FrancisBaconmakesanewsentenceholdanewidea.Herequiresanaudienceofbusythinkers,ratherthanmerereaders.IreferofcoursetohisEssays.

122SomeyearsagoaCzechwriter,KarelCapek,publishedanovelcalledTheAbsoluteat



Largeinwhichhepicturesaninventorwhosucceedsinutilizingtheenergyoftheatom,notformilitarypurposesbutonlyforpeacetimeindustrialpurposes.Inthesamebook,heimaginestheeffectofthisdiscoveryuponreligionandmetaphysics.Supportingthedoctrineofpantheismandaffirmingthatdivinityispresentinallmatter,hepicturesadivinebyproductissuingfromeachatomicturbine.Theconsequenceisthatallthepeopleintheneighbourhoodoftheturbinebecomespirituallyminded!Theybegintorenouncetheworld,totalkinspirationally,toperformmiracles,andtoengageinrevivals.Theideaisacleverone,butisitatrueone?Howcanspiritualitybeturnedonbyamechanicalinstrumentandletlooseuponthepeople?ThebasicfallacyinCapek'snotionisthatdivinityiscontainedwithintheatom.Onthecontrary,philosophysaysthattheatomitselfisindivinity,whichrequiresnomachinetoreleaseit.Itiseverywhereandalwayspresentandifitistobereleasedandcommunicated,thatcanonlybedonethroughahumaninstrument,notthroughanarrangementofsteelandsprings.

123InSanskritformulationsandanalysesontheartofpoetry,itsplaceandpurpose,itsstylesandtechniques,theimportantthingisforitsmessagetobeimplicitratherthanexplicit,togivehintsandcluesratherthanrevelations,tousesuggestiveimageryratherthantodeliverplainstatementsbut,aswithourownWesternwork,tousemyth,metaphor,andsymboltoarousefeelingandreleaseemotion.

124Poetrywhichgivesnobeautytomanorwhichraiseshimtononobilityhasfailedeventobecomeitself,thatis,poetical.Butwhenitismeredisjointedgibberish,splutteringnonsense,thenitisharmfultotheorderlysanityofthosewhoadoreit.

125Whatwitcheryisthiswhichenablesamantotakesomewordsandconnectthemwithotherwords,sothattheresultaffectsotherpeople'sfeelingsandminds?

126Agenuineaestheticfeelingshrinksfromthecrudefilthandthevulgarfourletterwordsofsomeofthese"in"youngwriters.Theyelevatethelowestasifitweretobeadmired.

127Thewriterwhoknowsnomoreoftruththanwhatsomeguruthatis,whatsomeoneelsehastoldhimoughtfranklytosaysotohisreaders.

128TheneuroticscreamingofaD.H.Lawrenceisseenforwhatitis:anadolescent'spassionalexciteddiscoveryofsexandhis(Lawrence's)inabilitytogetoverit,hisincapacitytogrowupintoanadultresponsibleandbalancedviewofit.

129InhisbookBetweenHeavenandEarth,thelateFranzWerfelwrote:"ThestupidestofallinventionsofnihilisticthinkingisthesocalledimpersonalGod.ConfrontedwiththisnonpersonalGod,oneistemptedtoblessthepersonalnonGodofthehonestatheistfortheconceptofaspiritlessandsenselessworldcreatedbynothingandbynoone,andexistingnevertheless,isforallitsghastliness,moreacceptablethantheidioticnotionofakindofextramundaneandautonomouspowerstationthatcreatesandfeedsallthingswithouteveratallhavingbeeninventedoroperatedbyacreativeMind.TheimpersonalGodisthemostwretchedreflectionoftechnologizedandthoughtwearybrains,themodernoldfolks'homeofsenilepantheism."

Thesesentencesbetraysuchamisunderstandingofoneofphilosophy'sbasicmetaphysicaltenetsthattheycallforareply.Weofferthemostunstintedpraiseof



Werfel'sgeniusasanovelistandweconsiderhisbookTheSongofBernadetteoneofthefinestpermanentcontributionstomodernreligiomysticalbiography.ButWerfelgotoutofhisdepthwhenheattemptedtocriticizethis,theultimateconceptofallpossiblehumanconceptsaboutGod.Forhebroughttohisthinking,albeitquiteunconsciously,allthelimitationsofhisotherwisegiftedpersonality.Wemustrememberthathewasprimarilyamanofimagination,anartisttowhom"forms"and"entities"areanecessityintheworkingofhismind.ConsequentlytheideaofVoid,whichisSpiritinallitsuttermostpurity,remainedimpenetrabletohim.Tothephilosopher,theprivationofallthingsandeventhoughtsrepresentstheonlyabsoluteemancipationfromthelimitssetbymattertimespaceandego.Thereforeitrepresentstheonlypowerwhichisreallyinfiniteandalmighty.Thatis,itrepresentstheonlytrueGod.WerfelunconsciouslylookedforamentalpictureinhissearchforGodbecauseonlysuchapicture,togetherwiththeecstaticdevotionitarouses,couldgivehim,asanartist,theassuranceofarealpresence.

WerfelnotonlywasincapableofacceptingtheconceptoftheVoidbuthealsodidnotwanttoacceptit.Thiswasbecausehewas,likesomanyartists,anemotionalist.WitnessinproofofthisassertionthethreeintellectuallyweakreasonshegiveswhyaJewshouldneverbecomeaformalconverttoChristianity.Whenanalysed,thesereasonsturnouttobenothingmorethanmerehistoricaltraditionworship,passionatesentimentality.

Inspiredrevelatorywriting

130Therearegreatbooks,callthemscriptures,classics,orcommentaries,whicharevehiclesnotonlyofinstructionbutalsoofinspirationandenlightenment.

131Ordinarywritingisaprocessofthecommonintellect,whereasrevelatorywritingisaproductoftheinspiredintellect.Inthefirststatetheintellectworksbyitsownpowerandmomentum,whereasintheseconditworksunderthepossessionofthehigherpowerandbyahigheractivity.

132Thereisastylewhichisformedartificiallyandselfconsciouslybynimble,intellectualrhetoric.Thereisastylewhichformsitselfunconsciouslyoutofnaturalloftinessofcharacter.Trulyinspiredwritingandspeakingcomefromthelatterclass.

133Theauthorwhowillinglyandhumblygiveshimselfuptosuchaninwardlyguidedmodeofwritinglearnsnewtruthsfromitsresults,justashisreadersdo.

134Apieceofwritingwhichexpressestheilluminationofthewriterhasthepossibilityofinitiatingthereader.Itisanechoorareflectedimage.

135Ininspiredwritingyoumeetanindividualworthmeetingyouaretakendirectlyintoamindworthknowing.Youpartakeofcommunionwithabeingsuperiortoyourself.

136Whentheinspiredsentenceisread,thesensitivemindcomprehendsthatitisnolongermerelyreadingwords.ItisalsoreceivingthegraceofthePresence.

137



Theeffectofinspiredwritingistoarousespiritualaspirationorprovidespiritualguidance.Thisisitshighestfunction.

138Whatreadersgetfromaninspiredbookdependsontheirowncapacity.Itcancommunicatethetruthorbeauty,thesublimityorgoodnessfoundintheinspirationonlytotheextentthatthereadercanfeelsomethingofsuchathinghimself.Thebetteritiswritten,themoreeffectiveisthecommunication.

139Aspirituallyinspiredbookmustnotbereadtoolightlyortooquickly.Thereadershouldtrytopenetratedeeplyintotheideasoneachpage...sodeeplythathecomesoutontheotherside.

140Whenwritingofwritersandtheirproductions,ThomasdeQuinceysetforwardaninterestingtheory.Hedividedbooksintotwokinds.Thefirstbelongedtowhathecalledthe"LiteratureofKnowledge,"andtheywereintendedtogiveinstructionortopresentinformation.Butsuchbookswould,fromtimetotime,becomeobsoleteandhavetobebroughtuptodate,orneedrevisionforsomeotherreason,orrearrangement.But,anyway,theydonotgenerallyhavepermanency.Thesecondkind,whichhecalled"TheLiteratureofPower,"didhavepermanencybecauseitmoved:ithadthepowertomovetheheart,thefeelingsofpeople.Andbeingwhatitwas,writtenfromtheauthor'slivingexperienceorwhathehadhimselfseen,gavethewritingapowerwhichinstructedworksofinformationdonotpossess.Inotherwords,theLiteratureofPowersurvives,whereastheLiteratureofKnowledgegetssuperseded.

141TruthsitspercheduponthepenofonewhohassurrenderedhishandtotheOverself.HencehiswordsendureandaretobefoundamongtherecordsthatTimekeepsinitstreasury,whereasthewordsofegotisticandephemeralwritersareoftenthrownoffintooblivionassoonastheyarewritten.

142Theliterarylegacyofthemodernworldisnothingshortofamazing.AlthoughthewisdomoftheAlexandrianLibrarywasburntdownwithit,Iwarrantwehavetodayafullerandmoreroundedrecordofhumanknowledgethantheancientseverthoughtlikely.Yetwithalthegreatsecreteludesus.

143Thereisapowerininspiredwritingsandauthoritativerevelationsnotonlytoworkuponthemindsandheartsoftheirreaders,likemanyotherbooks,butalsotoworkupontheirintuitivenatures.Thisisafarmorevaluableservicethanprovidinginformationorstimulatingemotion.Theystartaprocessoffruitfulthoughtorgiveglimpsesofhithertounperceivedtruthorformulateclearlyanddecisivelywhathasbeenhalffeltandvaguelyknown.

144Thewriterfollowsaprofessionwhichisglamorousbuthollow:heismerelyamanipulatorofwords.Butitishollowonlyifhiswordscomeoutofnofacts,iftheyarenothingbutbabble.Itisonlywhenhisexperienceoflivingisrich,wide,andverticallycrosssectioned,orwhenhismindtouchesdeepsourcesbyitspowerofconcentration,thathiswordsareloadedwithcontentandhisreadersareenrichedwithinspiration.

145Itisforthereadersuccessfullytorecreateinhimselfthemoodwhichinspiredthewriter.



146Youmustlookformeaningnotonlyinthewordsbutalsoinbetweenthelettersofthewords,forsucharethewaysofthemysticsandalsoofthewritersofparadox.

147Thewriterwhoengagesthereader'smindandinvitesittothinkrendersanintellectualservice.Butthewriterwhoincitesittointuitrendersaspiritualone.

148TherearephrasesintheNewTestamentwhichmustimpressthemindofeverysensitiveperson.Thesephrasesembodytruthsbuttheyembodytheminlanguagewhichcarriesaddedauthorityderivedfromthestyle.IrefertotheKingJamesversion,thetranslationintoEnglishmadeintheseventeenthcenturyandtodayreplacedbyseveralmodernversionsinplaineverydaytwentiethcenturyEnglish.Itistruethatinthemodernonestheordinarypersongetsaclearernotionofthemeaningand,therefore,forhimthemoderntranslationisundoubtedlymoreuseful.ButIwroteofthesensitiveperson.Forhimnotonlyisthemeaningclearenoughintheoldversion,butthestyle,withitsbeautyandauthority,makesthestatementsevenweightier.

149Thewaytouseaphilosophicbookisnottoexpecttounderstandallofitatthefirsttrial,andconsequentlynottogetdisheartenedwhenfailuretounderstandisfrequent.Usingthiscautionaryapproach,heshouldcarefullynoteeachphraseorparagraphthatbringsanintuitiveresponseinhisheart'sdeepfeeling(nottobeconfusedwithanintellectualacquiescenceinthehead'slogicalworking).Assoonas,andeverytime,thishappens,heshouldstophisreading,putthebookmomentarilyaside,andsurrenderhimselftotheactivatingwordsalone.Letthemworkuponhimintheirownway.Heismerelytobequietandbereceptive.Foritisoutofsucharesponsethathemayeventuallyfindthatadooropenstohisinnerbeingandalightshineswheretherewasnonebefore.Whenhepassesthroughthatdoorwayandstepsintothatlight,therestofthebookwillbeeasytounderstand.

150Awriterwhogivesouthighidealsoughttobethefirstmantofollowthemhimself.

151Ithasbeensaidthatitissomewhatdisillusioningtomaketheacquaintanceofwritersinpersonandthatitisbettertobesatisfiedwithenjoyingtheirwork.Thisislesstrueofthegeneralcategoryofauthorsthanitisofthosewhowriteuponreligious,mystical,andphilosophicalsubjects.Readersformpreconceptionsofwhattheauthorsofsuchbooksmustbelikepersonallyandphysically,butsuchpicturesarebasedupontheirbias,theirprejudice,thelimitsoftheirreadingandexperienceespeciallysocialexperience.Sotheyreceiveasurprise,sometimesevenashock,whentheyfindthattherealitydoesnotcoincidewiththepreconception.

152Thespiritualauthorwhoconformstohisownteachings,whoisascarefulofhisethics,motives,actions,andthoughtsasheisofhisstyle,isararecreature.Thereisnotlessposingtoapublicaudienceintheworldofreligiomysticismthanthereisintheworldofpolitics.Thecompletelysinceremaywritedowntheirexperiencesortheirideasforthebenefitofothers,buttheyaremorelikelytodosoforposterityratherthanfortheirownera.Theirmostinspiredworkispublishedaftertheirdeath,notbeforeit.Thehalfsincereandthecompletelyinsincerefeeltheneedofplayingouttheirrolesduringlife,fortheego'svanity,ambition,oracquisitivenessmustbegratified.Thehalfsincereseldomsuspecttheirownmotivestheinsincereknowtheirowntoowell.



153Mostmodernwriterswhodealwithsomeaspectofmysticism,spirituality,andthehigherconsciousnessgenerallyhavedonelittlemorethanprobealongthemargins.Thisistruenomatterhowfluentlyorauthoritativelyormysteriouslyorloftilytheywrite.Itiseasierandcommonertoenterthestillnessandspeakfromitspleasanttranscendencethantopenetratetoitsinconceivablecoreandachieveinsight.

154HewhocanputGod'sGreatSilenceintowordsrendersahighservicetohisfellows.Heisnotonlyarevealerwhoopensdoorsintheirmindsheisalsoahealerwhorelieveshurtplacesintheirhearts.

155ThecorrectkeytothemeaningofOmarKhayyam'sRubaiyatisneithertheliteralnorthemysticalone,butacombinationofboth.ThePersiancharacterandoutlookaresuchthattheycaneasilyholdthescepticalanalyst,thepiousdevotee,thecarelesssensualist,andthetheosophicalfakirunderasinglehat.ConsequentlysomeoftheversesoftheRubaiyataretobetakenastheystand,butothersmustbesearchedforaninnermeaning.AndthismeaningisopenlyhintedatbyaPersianSufiteacher,SheikhIbrahim,inaquatrainwherewearetoldtoweepinyearningforthedivinesoulandtogiveitourheart'slove:

Therealwineisthebloodofourhearts,Donotsearchforitinthebottle.Thetruepearlsarethetearsofoureyes,Donotlookforthemintheocean.

156Aworkwhichbringstruefaithandreasonablehopetoheartsnotonlybereftofbothbutsteepedindespair,hassomeusefulness.

157Aman'sspiritualaspirationsmayremainasleepuntilhecomesintocontactwithanadvancedmysticoraninspiredbook.Bymarkingoutthepathwhichhisfeetwillhavetotreadaswellasbyshowingitsdeviationsandpitfalls,themanorthebookmayhelphimtotreadaright.

158Someofthoseancienttextswerewrittenonsohighalevelofinspirationthatoneapproachestheminaweandreverence.ItisasiftheWordwasmadescript,theintangiblegivenformtobreakthroughthelimitationswhichshutmanupintightignorance.TheunnameableGodheadhasusedafewhumanstotellhumanitythatitISandthattheyarenotalone.

159Amerehandfulofwordsmaycontainthewisdomofalifetime.Asinglepagemayteachamanmuchabouthimself.Nooneeventhemysticneeddespisebooks,buttheyneedtobekeptintheirproperplace.Readingcannotsupplantmeditation.

160Toreadinspiredbooksistoliveforatimewithinspiredminds.

161Youmaytestapiece,abook,orapassageforinspirationbywhetherornotityieldsthe



feelingthatalivingpersonisspeakingbehinditswords.

162Theideamaypreviouslyhavecomeintuitivelytothem,buttooweaklytohavedirectlyinfluencedthem.Yetwhentheyreaditformulatedeffectivelyinwordsandputintoprintbysomeonewhoisexpertinbothwritingandthesubjectitself,thelikelihoodofacceptanceissoverymuchmorethataresultlikeconversionisnotseldomproduced.Whenthereadersfindtheirsecretbutuncertainthoughtopenlyproclaimedinthestronglanguageofdirectknowledgeandpersonalconviction,theymaysubmittoitsauthorityinasingletransformingmoment.

163Anypieceofwritingthatcanmovementoseekthetrueandhonourthegoodwillhavedonemoreforthemthanifitmovesthemtojoinasectoracult.

164Itmaynotbeimportanttoarrangealotofwordsonpaper,butifthosewordsconveyintimationsofaninnerlifethatismoresatisfyingandlessillusorythantheouterlife,thentheirwriterperformsausefulactivityatleast,averynecessaryoneatmost.Evenifhisbeonlyavoiceinthewildernesswithfewornonetohearhim,thetremendousimportanceofhismessageremains.

165Thosewholackthecapacitytopractisemeditationshouldcompensateforthisbyreadingandstudyingthewritingsoftheotherswhopossessit.

166Thereisadeepchasmbetweenbookswrittenoutofgenuineknowledgeandthosewrittentoadvocateapointofview.

167Thebeginnerhaslittlecapacitytodiscriminateandseldomknowswhetherheisreadingtheworkofagreatmysticoronlytheimitationofsuchawork.Whatmakesthesituationevenworseisthatinadditiontosuchcopiesthereexistthemereimitationsofimitations.Ofcourseitismainlytheideasthemselvesthatareplagiarized,fortheinspiredpresentationofthemisnotcommonlywithinthecompassofmediocrity'shand.

168Thereissomethinglikemagicinthewayasimplewhitesheetofpapercanstironemantorancorousfrenzy,oranothertodeliriousjoy,ifcertainblackmarksaremadeuponit.Butstillmoremagicalisitwhenthemessagecontainedinthosemarksinducesatranscendentalstate.

169Theworkofaninspiredindividualwillalwayscarryauthenticitybutitmaynotalwayscarrystyle.

170Lightcomestouswithcertainwritingstheymakeourmindfertileandourunderstandingclear.Thesearethegreatwritingsofthehumanrace,whethertheyareknowntoitorneglectedbyit.

171Poetryarousesfeelingandthisinturn,ifloftyenough,canawakenintuition.

172



Wordsmaygiveotherpersonstheircuetostartoffinaneworhigherdirection,mayencourageorinspirethismove,buttheinnerworkhasstilltobedonebyeachpersonforhimself.Thewordsbecomemorevaluableastheyleadtheaspiranttoabsorbintuitions.Thisistheirbestservice.

173Thereareauthorswhogettheseinspiredmoments,whosometimeswritebetterthantheyknow,whohavetowaitliketheirreaderstocatchthehighrevelatorymeaningofapiecetheyhaveputdownasitflowedthroughthem.

174AncientOrientalauthorsonspiritualsubjectsoffered,intheirfirstlines,theirhomagetotheirmasterortotheirpersonalidealthepurposebeingpartlytokeeptheirwritingfreefrompersonaldistortionandpartlytogaininspiration.

175Tositthere,spinningoutthephraseswhichshallcarryideastoothermen,isnotlessanactofworshiporofpreachmentiftheybereverentlycomposedreligiousmysticalorphilosophicideasthanprayingonone'skneesoraddressingothersfromapulpit.

176Inthereadingofthesebooks,justasinthepresenceofthemasters,wegrowemotionallyandareatourbestmentally.

177Aword,aphrase,asentence,oraparagraphmaybeenoughtoawakenahundredsleepingminds.

178Aspokenwordorawrittenbookwhichreachesthroughaman'sordinaryeverydaycharactertohisbetterselfrendershimaservicewhichmaybefleetingorlasting.Theresultwilldependonwhetherornothefollowsupthemoodinvoked.

179Itisnotonlythatheistryingtocommunicateamessagetheworkdoesnotendthere:itisalsothatheistryingtomovehisreaderstofeelingandtoactionor,contrariwise,toadepthofstillnesstheydonotordinarilyknow.

180ShankaraofKanchi:"TheHinduartistdedicateshisworktoGod.Bysuchdedicationpurityofmindarises."

181Inthesymbolismofseveralscriptures,theSaviourrepresentsthehigherselfandtheseekerthelowerone.Thus,intheBhagavadGita,Krishnaisthedivinesoul,Arjunathehumanego.

182Towritenobleandbeautifulwordsconstitutingamessagethatwillstillbereadeagerlyathousandyearslaterandthatwillseemfreshandinspiredissomethingworthdoing.

183Finepassagesgrowuponthepagesoftheoldenseersasthicklyasgrassinspring.Wherearesuchgreatandtruevoicesasthosetoday?IcanhearthebleatofthelostsheepbutIcannothearsuchvoices.

184



Styleanditsartisticfunctionmayhavenoplaceintheasceticprophet'sschemeofthings.Hemaysaywhathehastosayinthebarestmostunattractiveway,orputitsoclumsilythathishearersmayhavetointerprethismeaning.

185Ifanypassageinhiswritingmovesyourmindorwillintherightdirection,ithasservedyouwell.Donotaskthatitshalldomoreandsolveyourownpersonalproblemdirectlyanddefinitely.

186Thesegreatmindsactivelyliveagaininhisownconsciousnessduringtheintentstudyoftheideasintheirwritings.

187Itisausefulexercisetomemorizethemostinspiredorthemostappealingpassagesinbookswrittenbymastersofthespiritualorphilosophiclife.

188Thedifferencebetweeninspiredwritingdrawnfromwithinbyintuitivefeelingandparaphrasedwritingdrawnfromwithoutbyomnivorousreadingisalwayscleartoapractisingmystic.

189Writingssoinspired,sorevelatory,exorcisetheevilspiritsofhateandangerfromourhearts.

190Coleridge'sAncientMarinerisamysticalpoem.Whenhewroteit,hewasplungedintothestudyofthemetaphysicalmysticssuchasPlotinusandotherNeoplatonists.

191Ifthroughabookwecanassociateourselveswithamastermind,itrepresentsanopportunitywecannotaffordtomiss.

192Truthtakesonfleshandbloodinsuchinspiredwritings,embodiesthebodilessSpiritandannouncesitsownexistencetoadoubtingargumentativeworld.

193Somecomeamonguscommissionedwithasacredmessage.

194Ifitistobeinspiredworkitwillhavetobewrittenoutofthefullestinnerconviction.

195Thewriterwholiftshisreaderstoahigherplane,whomakesthemfeelthatspiritualachievementiswithintheirreach,isasmuchaministerofreligionasanyordainedone.

196TheseinspiredphrasesluretheunderstandingontoseektheseraphicSourcewhencetheyhavearisen.

197Throughinspireddocumentsandinspiredprophets,peoplewhoareblindtothisrealityareenabledtosee.

198



Thesepassagesseemtobringwiththemthehigherpartofthereader'snature.Theynotonlystandforitsymbolicallybutalsodeputizeforitactually.

199IfIreadatrulyinspiredpieceofwritingwithalltheattentionandfeelingitdeserves,thenItakepartinasacramentnolessreligiousthantheoneinachurch.

200Thepermanenttruthsenshrinedininspiredclassicsaretobeloved,theirgoodcounselsdeeplyrespected.

201Thewordsofabookmayspeaktoaninnerneedwhichmayberagingwithinhimorwhichmaynotevenenterhisconsciousnessuntilthatmoment.

202Whenanyoneelseuttersfortheordinaryinarticulateman,inwordsandwithprecision,whathefeelsvaguelyandobscurely,heishelpedintellectuallyandfortifiedspiritually.

203Herearewordsaglowwithdivineecstasy,ashinewithdivinetruth.

204PhilotheAlexandriantellsoffeelingsoinspiredthattheideasflowedofthemselveseffortlesslythroughhispen.

205Thatbookrendersarealservicewhichletsinlight.

206Ifthebookisreallyinspireditwillstrikesparksinthereader'smind.

207ThesongsofKabirshowwhatwisdomcangointoanartisticform:thetwoarenotnecessarilydivorced.ThepoemsofRumiperformthesamefunction.

208Anutterancewhichisauthenticallyinspiredwillleaveitsmarkonsomeone.

209Anoblepieceofwritingcanservethosewhoarereceptivetoitsmessagebycleansingtheirheartsandupliftingtheirminds.

210ThetranslationoftheBhagavadGitabyPrabhavanandaandIsherwoodisoneofthemostreadable,clearest,easiesttounderstand.

211MuchofEmerson'swritingcamefromhisintuitionratherthanfromhisintellect.

212Therearetruthswhichdonoteasilydeclarethemselves,whichhideorresistsothattheymustbedugfor.Butthatispreciselywhereaninspiredbookcanhelptheseekersomuch.Andthenwhenthediscoveryismade,whenthejewelisfound,itcanbeaddedforhisgreaterenrichment.

213



Thatwriterhasfulfilledhispurposewhosereadercatchesfirefromhiswords.

214Oratoryisgreatwhenitgivesitsauditorsmoreunderstanding,butitisgreatestwhenitgivesthemaglimpse!

215Itisrighttoexpectthatawriterontheartofmentalquietwillproduceworkswhichthemselvesbearastyleandatmosphere,acontentandmessageofquietness.

216Thebookwhichprodsusintofinerthoughtorhigherfeelingormakesuslivebetterhasserveduswell.

217Avolubletongueoraprolificpenisnoevidenceofaninspiredmind.

218Inthesepagestheywillfindtheirhalfheldbesthopestakenupandtransformedintoreasonedaffirmations.

219Whenyoureadsuchinspiredworks,itisnotenoughtoreadthemwiththeeyesalone:youmustabsorbtheircontentsintoyourinnerselftheymustpenetrateyouthroughandthrough.

220Hewilllovethewritingsofinspiredprophets,illuminedseers,orintuitivethinkers.Themoretheysucceedinconveyingthefeelingoftheirexperienceof,orkinshipwith,theOverself,itspresenceandpower,itsbeautyandpeace,themorewillhelovethem.

221Toregardeverypartofaworkasequalininspiration,oreveninvalue,witheveryotherpartisnave.Theartistorwriterhastimeswhenhemaybeonlyhalfawake,overtired,moody,anddepressed,andhisworkisnotlikelytobethenatitsbest.

222Thesewordsevokeexaltedfeelingsintheheartofathoughtful,wellinformed,andsensitiveperson,butisthesameresultlikelytohappentoacynical,sceptical,totallymaterialisticperson?Withoutsomepreparationofphilosophytheymayfailtotakeholdonalimitedmindoramainlyselfishone.

223Apoemwhichstirsayoungpersontohighaspirationhasdoneanobleservice.

224Anartisticorliteraryproductmaybenothingmorethanthemereexpressionofacapriciousmood,ofapassingwhimsy,somethingaltogetherinsignificantoritmaybealliedwithgreatspiritualmeaning,loadedwithrichesforbeholder,listener,orreader,andfinallymetamorphosedintoaritualofhighmagic.

225Adeeperforceisoperatingatsuchatimethaneitherreaderorhearerisawareof,buttheresultdependsonwhetherthesensitivity,receptivity,andpassivityarepermittedtodominate.

226



Thereaderwhojoinshisownwithanauthor'smindgetsachancetogoasfarastheauthorhasgone.

227LaoTzu'sclassicandonlywork,BookoftheWayandofitsMerit,triestomakeitsreadersseevalueswhichonlythesageordinarilysees.

228Awiseandnoblestatementinaninspiredbookmaycomebacktosomereader'smindatamomentofgreatneedwhenitwillbemeaningfultohimandhelphimthroughadifficultperiod.

229Afewwordsmaycarryaman'smindtoanupliftedstate,mayhelptoawakenabriefassociationwithhisbetterself,andmayhelphimrelatetoafinerstateofconsciousness.Butthisdependsonwhoutteredorwrotethosewords.

230Isitpossiblethatsomethingofthewriter'smindinfusesitselfintheattentivereader's?Whynot,ifthereaderisalsoreceptive?Buttheeffectmaybebriefandsoonfadeout.

231Asinglewordorashortphrasemaybecomesochargedwithmeaningforhimthat,ponderinguponit,enlightenmentgrowsrapidlyandtheinnerworkprogressesaccordingly.

232Awriterinthisfieldofstudyattractstheseriousandearnest,thesensibleandlevelheaded,buthealsoattractsthepsychoticsandneurotics,themildlylunaticfringewhobecomeamenacetohisquietindustriousexistence.

233Weallknowthatthereisadarknegativesidetolife,withitsmiseriesandsufferings,asweknowthattherearesomanyimperfections,follies,meannesses,andwickednessesinhumans.Butwhyshouldanauthoronspiritualtopicsdepictthem?Thereisnotmuchinexistencetodaytocomfortandgladdenus,sowelooktosuchanauthortoholdupnoble,beautiful,peacebringingideals,ideas,andexperiencesforourgaze.

234Sometimesasinglespokenorwrittensentencecanrevealtotheperceptivemindthatthespeakerorwriteris,forthosemomentsatleast,anenlightenedindividual.

235Thisliteraturehasbeguntofamiliarizethemwiththeideasandpracticesofmysticism,thelivesandwaysoftheyogis.Ignorancemustgiveplacetoacquaintancebeforeitcangiveplacetoacceptance.

236WilhelmvonHumboldtreadWilkins'EnglishtranslationoftheBhagavadGita,withtheresultthathefeltboundtothankdestinyforhavinglefthimlifelongenoughtoallowhimtoreadtheincomparablework,whichhecalled"thefinestphilosophicpoemthattheliteraturesknowntouscanoffertohumanity."

237Ifwebelievethatthemenwhowrotescriptureswereinspiredandifweknowourworldliterature,wemustbeveryinsensitivenottoseethatothermenhavewrittensincethen



whowereatleastonlyalittlelessinspiredthanthescripturalauthorsandwhowrotewithalightandwisdomnottheirown.

238Literaturecanbeasmuchaspiritualforceinthesemoderntimesasliturgyhasbeeninmedievaltimes.

Stage,cinema,dance

239AncientGreektragedyplays,withtheiratmosphereofhelplessandhopelessdisaster,givetruthonlyiftheyarecounteredbymodernwritingsorspeechesbasedonworship,personaloptimism,andsuccessstories.

240IfTheTempestwasShakespeare'sfinalwork,itwasalsohismostphilosophicalplay,neatlyexpressinghishighestthoughts.Thereislessconflictandtragedy,morecalmanddignityinitthaninanyofhisotherwritings.

241ThetheoryofTragedy,whichdevelopedoutoftheDionysuscult,remainedaspiritualthingfortheGreeks.Aristotleconsideredthatitarousedpityandfearfortheheroandthuspurgedandhealedtheaudience'semotions.

242Itisimportanttorememberthepowerofsuggestionwhenweexaminetheeffectofatheatricalplayonthespectators.Thispowercanbeusedtoharmthemmorallyortoelevatethememotionally.

243Ihaveoftenaskedpeopleconnectedwiththetheatrewhethertheybecometherolewhichtheyplayandentirelyforgetthemselvesorwhethertheyneverentirelylettheirownpersonalidentitydisappear.Theanswershavebeencontradictory.Theredoesnotseemtobeuniversalagreementuponthispoint.Somesaytheynolongeridentifywiththemselves,otherssaytheyalwaysrememberthemselves.Perhapsthesolutionisthattheveryfewwhohaverealgeniusdosucceedinlettinggooftheegoandbecomingthecharacterwhichtheyplay,totally.Others,whomayhavegood,realtalentbutnotgenius,willnotbeabletoletgooftheirego,willnotbeabletoforgetself,howeverwelltheymayassumetheroleonthestageitself.

244WasSalvinirightwhenhesaidthatanactorweepsandlaughsonthestageyetallthewhileheiswatchinghisowntearsandsmiles?

245ThepeopleofAthenscouldthinkofnobetterhonourfortheirtragicdramatistSophoclesafterhisdeaththantosaythatagodhadlivedwithhimasaguest!

246Wehavegonefarfromtheserioususeofaplayinthetheatre.Shakespeareusedittohelpusget,foracoupleofhoursatleast,aslightlymoredetachedviewofhumanexistencethanispossiblenormally.Thismighthelpustogetaslightlybetterunderstandingofourownexistence.Buttodaycriminalsareadmiredbytheaudienceandheldupforadmirationbytheauthor.Sexwithoutselfcontrolisanotherpraisedthemeforthe



titillationofaudiencesandthebriskersaleofticketsattheboxoffice.

247ItisriskytotrytomodernizeShakespeare'sstoryandlanguageunlessgreatrestraintisused.

248Thefictitioussufferingsandjoysenacteduponatheatricalstagemaymoveanaudiencetotearsorpleasure,butwithitsdeparturecomestheawakeningtoreality,thatknowledgeofwhatiswhichistruth.

249AplaywhichcarriessomethingoftheatmosphereofareligiousritualtherebybringstheTheatreneartotheChurch.

250Iftheaudiencereflects,eitherduringoraftertheshow,onthepieceoflifeithasseenonthestage,itwillhavesomehigherprofitthanmereentertainment.

251ItistruethatShakespeareheldamirroruptotheevents,persons,andhistoriesofhistime.Butitisalsotruethatheinsertedphilosophicalcommentswhichcarriedforce.

252WemayaskwhyShakespearehasportrayedtoomanyhumanfaultsandtoofewhumanvirtues.Buttheanswercanonlybebecausehehasgonetolifeitselfforhissources,wherehumanimperfectionsarealltooplain.

253Ihaveknownthemanwhowas,inhistime,theworld'sgreatestscreencomedianChaplin.

254Igotothecinemapartlytogettheoppositionwhichwillinamildbutvariedformtestmyasceticindifferencetowardsearthlyattractionsandpartlytogetvividinstructionintheirdeceptivenessandvanity.Theverysceneswhichexcitethesensualityofmostbeholders,Iuse,byaprocessofkeenintellectualanalysis,toexcitemyrepulsion.Finally,Ialsogotothecinemasimplytoenjoymyselfwithcomediesandlaughoverthem.

255Toomanyfilmsareturnedoutfollowingacheaplymelodramaticorallegedlyfunnyformula.Soonafterthestartofapictureoneknowshowitisgoingtounfold.Itisinane,adenialoftrueartistry,afalseescapefromreality,awasteoftime.Onecanattendcinemasonlywhentheyshowversionsofagoodnovel,agoodplay,oraworthwhilecomedy.

256Thecinemaisheretostay.Everybodyunderstandsitspictoriallanguage.Butlikeotherformsofscienceappliedtoart,itspowerfulinfluenceneedstobepurified.

257Thecinemahasoverexploitedsexandoverpictureditssaccharinesensualities.

258TheboxofficesuccessofthefilmTheRazor'sEdgeisproofthatthereisalittleroomforsomethingloftierintheentertainmentworld.Hereisastoryofayoungwarveteran



whomNaturehasmadeanindividualistandwhomexperiencehasmadereflectiveaboutexperienceitself.Hebeginsasearchforinnerpeace,whichinthestoryiscontrastedwithasettingofcontinentalworldlinessandParisiansin.

259RudolfSteinercomparedtheeffectsofcinemagoingtothoseofadrug.Perhapshewouldhaveincludedtheentertainmentsideoftelevision,thereadingoflightfiction,too.Butifweanalysethepleasurewhichsuchattractivedistractionsyield,weshallfindthattheyletusgetawayfromtheego.

260Thedancesusedinconnectionwiththeancientreligions,andparticularlythoseoftheNearandMiddleEast,werenotintendedtoofferpleasureorprovideentertainmentasmostofourmodernorWesterndancingis.Theyhadasacredorsymbolicmeaning.Atsomestagestheymightbringtheaudienceintochoruschantingorevencertainmovementsalongwiththeoriginaldances.

261WhatevertheotherreasonsareforthetremendouspostwarpopularityoftheballetbothinEuropeandAmerica,betheyitscolourfulness,itspoetry,itsvigour,itsbeauty,anditsblendingofdifferentarts,thereisonemore,whichisimportant:itsotherworldliness.Itanswersaspiritualcravingthatdoesnotknowitisspiritual.

Painting,sculpture,architecture

262Thepaintermustnotonlyhavethetalentsofdrawingandcolouring,butalsothebodilygiftofseeingsharplyandthementalgiftofvisualizing,imaging.

263Thelightwhichinformsandbrightensthecoloursofthebestmedievalpaintingsissuggestiveandsymbolic.Theartistsworkedoftenunderinspirationgotfrommysticalrapture,fortheyworkedoftenwithreligioussubjects.

264ThetinyfigureofaBuddhaappearsinsomeTibetanpaintingsorstatuettes.Itisaperfectreplicaofmidgetsizeplacedintheheartorhead.Itisputinbytheartisttoshowtheunseen,therealBuddhawithintheouterformthatisallmostpeoplesee.

265Inspireddrawingsmaygiveasmuchaspiritualimpactasinspiredpaintings.

266ThosepicturesBuddhist,Hindu,andChristianwhichshowthebenedictoryraisingofahand,showonlyoneoftheideaswhichexistsidebysideindifferentreligions.

267Christianartwasnotthefirsttouseahaloroundtheheadwhendepictingholiness.Chinesepictureshaveusedittoo.

268Somepaintingsofpopartseemtobescenestakenfromtheastralplane.Theyaremorethanmereimaginationextraordinarycreaturesoramazingmonsters.Theyaremostlyresultsofastralclairvoyance.



269Apaintingwhichbeholdersfindquiteincomprehensibleandwhosemakerboastsofitsmeaninglessnessbelongstohumanpathology,nottohumanart.Tohimlifeitselfiswithoutmeaning:hispictureisajumblebecausehissoulisachaos.

270Thoseultramodernartistswhoscorntodrawwellbecausetheycannotdrawatall,whoseslovenlyproductionsanduglycolouringrepeltheseekerafterbeautyinart,possessneithertechniquenorinspiration.

271Raphael,Leonardo,Michelangelo,FraAngelico,andPierodellaFrancescahadunquestionedgeniusinart.Buttheybelongtotheoldschool,andmodernyouthcravesthenew,thedifferent.Thecravingislegitimatebuttheacceptanceofcrazynonsensemerelybecauseitisnew,ofuntalenteduglinessmerelybecauseitisdifferent,mustberejected.

272ItmaybethatthosewhosetastehasbeenformedaroundthemodernexpressionsbycontemporaryartistswillhavesomedifficultyinadaptingittothecompletelydifferentmasterpiecesofByzantineart,andinappreciatingthem.ThosewhoareconfrontedbythemforthefirsttimemayneedasufficientperiodofadjustmenttothehighlyornamentalcharacterofByzantinepainting.

273WhenwestandbeforeoneoftheluminousdawnssofrequentlypaintedbytheFrenchmanCorotwefeelpeacegivinghealingradiations.

274DespitethefineworkputforthbyourEuropeanmasters,WesternarthasyettoreachthelevelofvitalityincolouringattainedbyoldChina.

275InapaintingoftheChinesemasterChouTunYi,thegreatphilosopherisshownholdingasceptre.Thisiscalled"TheSceptreofPower."Itstandsforthemasculineelementswithintheperson.Thesceptrebeingheldwithinhishandsshowsthatthemasculineenergyisheldwithinhiscontrol,thatheisindeedamasterinthissense,arulerofhimselfforthesceptreisadornedwithadiamond,hardestofstones.

276InthisportraitofChouTunYiwhichlooksdownuponmefromthestudywallthisgreatmasterissittinginfullrobesholdingtheflatsceptreofauthorityatitslowerendwithhisrighthandandsupportingitsupperpartwithhislefthand.Thisceremonialsceptreisnotonlysymbolicofhighstatusontheworldlyscene,butinhiscaseisalsosymbolicofspiritualpower.

277Evenifthesimplepeasantfervourofthefiguresappearinginmedievalpicturesmaynotbeinaccordwithmodernmentalities,yettheauthenticinspirationistherealsoadmirationisdueforthemagnificentpaintworkitself,theclearluminouscolouring,andtheskilleddrawingofaPierodellaFrancescaoraFraAngelico.Artwasalivethen,artistswerecreative,talentwasvisible,andtrainingwasfundamental.Todaythecontrastissaddening:pseudoartflourishes,iswellpaid,whilethetastefortherealthingislittle.

278TheChineseregardpaintingandcalligraphyasthehighestformsoftheirartistic



expression.

279Nottheslowandpatientbuildingupofapicture,asisordinarilydone,buttheswiftstrokes,thedecisiveconfidentexecutionoftheworkintheshortestpossibletimeandtheleastamountofeffort:thatisZenartistry.Ittriestotakeadvantageoftheinspiredmomentstogivebirthtomemorableandexceptionaldrawingonpaperorpaintingonsilk.Itistrulycreative.

280TheiconsofGreekOrthodoxywerehighlystylizedandtraditionbound:theartistwasnotfreetointroducehisindividualvariation.

281Whatthepainterputswithhisbrushandcolouronacanvasbecomesthemediumofhisownexpression.If,inaddition,hehasbecomeavehicleforhishigherself,thentherewillbeatwofoldeffect,theonepersonalandtheotherinspired.

282CalligraphywasplacedashighamongtheartsbyprewarChineseasmusicandpoetryhavebeenplacedbyus.Handwritingandsignwritingwereusednotonlytocommunicatebutalsotodecorate,notonlytoexpressbutalsotogivejoy.

283HowinspiredbythefeelingforbeautyareoftenthosedelicatelypaintedscrollsonwhichChineseartistsputtheirimpressionsofpinetreessetonmountainsides,leapingwaterfalls,andquietriverbanks.

284ThestrengthshowninGreekmalestatues,thegracefulnessshownintheirfemaleonesarematchedbytheequipoiseshowninGreekphilosophy.

285WhattheAsianadeptpointedto,inastatueconfrontingusandwhichhecalled"theAngkorsmile,"couldonlyhavebeenchiselledbyaskilledartistwhowasalsointuitivelysensitivetotheprofoundserenityofhissubject.

286InapieceofJapaneselettering,thearchoveraMoorishdoorway,oranoldGreekpediment,beautynaturallyinheres.Eachinitsownwayissymmetrical,balanced,aharmonyoftwooppositesides.Inasage'smindthereisthesameattractiveequilibrium.

287ThesolidbalanceandintelligentproportionwhichGreekphilosophyadmiredandtaughtwereexpressedintheelegantpedimentsandcolonnadesofGreekarchitecture.TheferventdevotionanddirectsimplicityofMuhammedanreligionwerebroughtintothetaperedminaretsandarcadesofArabarchitecture.Fromthethoughtandfaithofapeoplecameforthitsart.

288ThesuperbbalanceandfineproportionofGreekarchitectureholdslessonsforman,forhispersonasforhiswayoflife.

289Itisonemoresignoftheunbalanceofourtimesthatarchitectsoverconcentrateonthestraightlineintheirdesignsforthemassivenewbuildingswhichappearinallmajor



cities,andignoreitscounterpoisethecurve.

290Toomanymodernbuildingshavethesoullessness,thematerialisticinnerandouternature,ofmechanicalconstructions.Theyarenotgrowths.Thisiswhytheylackbeauty,grace,charm.Competentfunctiononlyistheirpurpose.Theyachieveit.Buttheyaremonotonousbarracks.

291Buildingsthatarelikeboxes,withoutanyidentityorindividualityoftheirown,showthedecayofimaginationandthemistakeoflettingthefunctionalistsupplanttheartistinsteadofworkingsidebysidewithhim.

292Thepillaredarcadeswhichtransformastreet,makingitpicturesqueandgivingitdignity,oughttobemultipliedahundredfold.

293ThedignityofGreekarchitecture,expressedinfinestatelypillars,invitesrespectfortheGreekmind.

294Thestraightcleancutlinesoftheexterior,themodernisticcubesandparaboliccurvesoftheirinterior,arefitsymbolsofdirectnessandnewnesstheskyjuttingspiresareaptsymbolsofthealtitudeofachievementwhichbeckonsyoungambition.

Music

295Musicalcompositionswhichcarrytheirhearersupintohigherworldsofbeingarebenedictions.

296Themiracleofmusicalbeautyistobeexperiencedgratefully,notforthesensuousandemotionalsatisfactionsalone,butalsofortheremindertomakealllifebeautiful.

297Ofalltheartswhichministertotheenjoymentofman,musicistheloftiest.Itprovideshimwiththesatisfactionwhichbringshimnearertotruththananyotherart.Suchisitsmysteriouspowerthatitspeaksalanguagewhichisuniversallyacknowledgedthroughouttheworldandamongsteveryclassofpeopleitstirstheprimitivesavagenolessthantheculturedmanofthetwentiethcentury.Whenwetrytounderstandthispeculiarpowerwhichresidesinmusic,wefindthatitisthemosttransientofalltheothers.Thesoundswhichdelightyourearshaveappearedsuddenlyoutoftheabsolutesilencewhichenvelopstheworldandtheydisappearalmostinstantaneouslyintothatsamesilence.MusicseemstocarrywithitsomethingofthedivinepowerwhichinheresinthatgreatsilencesothatitisreallyanambassadorsentbytheSupremeRealitytoremindwanderingmortalsoftheirrealhome.Theaspirantfortruthwillthereforeloveandenjoymusic,buthemusttakecarethatitistherightkindofmusicthekindthatwillelevateandexalthisheartratherthandegradeandjarit.

298MusiccanbeastartalongthePaththesameasotherarts,ifitisusedasameansofelevatingfeelingandupliftingoneselftotheprimalbeautyoftheSoul.Itisitselfayoga



pathandcanbenotonlyameansofexpressionbutoneofliftingthoughtandfeelingtothehigherrealmofillumination.

299Whatmancannotreceivedirectlythroughtheintuition,hemustreceiveinadifferentformthroughthephysicalsenses.Thisiswhymusic,forexample,takestheplaceofaspiritualmedium,asitcanbeheardbyanyone,whereasintuitionisunfeltbytheinsensitive.

300Thosewhoareinsensibletothemysticalinitsordinaryformmayberesponsivetoitsmusicalform.

301Musiccanexpressthemysticalexperiencebetterthanlanguageitcantellofitsmystery,joy,sadness,andpeacefarbetterthanwordscanutter.Thefatiguedintellectfindsatonicandtheharassedemotionsfindcomfortinmusic.

302WhocanrespondtothegeniusofBach'sSaintMatthewPassionunlesssomeawakeningofspiritualityhoweversmallisinhim?

303Wecometoconcertsandoperastohearmusic.Loudapplauseinterruptingwhatwehearintroducestheshockofnoise.Itspoilstheatmosphere.

304Beethoven'smusicisnotonlymelodious,whichiscommon,butalsochargedwiththought,whichisnot.

305MusiclikeanyoftheintellectualartsmayhelporhinderthisQuest.Whenitisextremelysensualordisruptiveornoisy,itisahindranceandperhapsevenadanger.Whenitisupliftingorinspiringorspirituallysoothing,itisahelp.

306WarnerAllensayshegot,attheageoffifty,themysticexperienceoftimelessness,sawtheDivineLightinvision,andfeltonewithGodwhilelisteningraptinBeethoven'sSeventhSymphony.(Ihavehearditbutonlythesecondmovementismystical.)

307IfaninspiredsonatabyBeethovenbringsyoumomentarilytothebordersofheaven,donotstopwiththeenjoyment.Exploretheglimpseafterwardsforallitsrichcontent,itsimmensemeaning,itsgloriousrevelation.

308(1)Bach:thefinalchorusfromSaintMatthewPassion,(2)Beethoven'slastpianotrio(Archduke),(3)theslowmovementfromMozart'sGMajorViolinConcerto,K.216thesethreearespirituallyinspiredmusicalworks.

309MusicalgeniuseslikeBachandBeethoven,MozartandBrahms,Handel,Vivaldi,Puccini,Rachmaninoff,Schubert,andWagnertouchedanddrewfromtheOverself'sinspiration,althoughinunequaldegree.Theygavetheirhearershighervaluesandeven,inthecaseofthemoresensitiveandpreparedones,spiritualglimpses.Beethovenhimselfsaid,"IwasconsciousofbeinginspiredbyGod."Brahmssaid,"WhenIreachmybest



levelduringthetaskofcomposition,Ifeelahigherpowerworkingthroughme."

310Musicisstillused,asitwasformorethanathousandyearspast,bymanySufistohelpbringonlovinglyanddevotedlythejoyousabstracteddepthsofmeditation.

311Tchaikovsky'sSymphonyno.5isaspirituallyelevatingcomposition.

312ThePastoraleSymphonybyBeethovenisacallinmusictoournativespiritualhomeland.

313EvenuntilacoupleofdecadesagothebetterclassIndonesianswouldplayoneoftheirseveralnativemusicalinstrumentsaftersunsetasaspiritualexercisetorefine,purify,anddisciplinetheirfeeling.

314Musicreceivesasacramentalformwhenitistheexpressionofaninspiredcomposerittrulyhelpsitshearersspiritually.

315ItiscuriousthiscontrastandcontradictionofBuddhabanningmusicandBeethovenreceivingdivineexaltationfromit.BuddhasaiditledastrayBeethovensaiditledtoGod.Butanalysisshowsthatmostpeopleweretootastelessorweakorignoranttobeentrustedwithsuchaninfluenceandallowedtomaketheirowndiscriminationbetweenthedegradingorexcitingandtheennoblingorcalming,soitwasprobablysafertobanmusicaltogether.Besides,theirtimeasmonkscouldbebetterusedinreflectionsandmeditations,studiesandpractices.

316InthePersianSufibookDiwaniShamsiTabrizitiswritten:"Wedonotattendmusicalassembliesnoremploymusic.Inourpositionthereismoreharmthangoodinit.Musicimprovestheapproachtotheconsciousness,ifheardintherightway.Butitwillharmpersonswhoareinsufficientlydeveloped.Thosewhodonotknowthishavetakenupmusicasifitweresomethingsacredinitself.Thefeelingstheyexperiencefromitaremistakenforsublimeonessentimentsarearoused,whichisnobasisforfurtherprogress."BahaudinNaqshband,leaderoftheNaqshabendiDervishOrder

317SufiTeachingonMusic:

(1)"Donottrainyourselftomusicincasethisholdsyoubackfromhigherperceptions."IbnHamdan(medieval)

(2)"Theyplaymusicandcastthemselvesintostates....Everylearningmusthaveallitsrequirementsfulfilled,notjustmusic,thought,concentration."MainuddiChishti,inalettertodisciples,referringtoecstaticstates.Themasterexplainedfurtherthefactthatloveofmusicwasnotenough,thatemotionalfeelingsproducedbymusicwerebeingconfusedwithspiritualexperience.

318PlayoftheSoulandtheBodyCavalieri,bornmidsixteenthcenturyinRome,died1602inRome,wasGeneralDirectoroftheTuscanCourtinFlorencein1588.Hebelongedtothecircleof"CamerataFiorentina,"whichbroughtagreatinnovationinWesternmusic:



the"NuoveMusiche"(NewMusic),aspecialnewmannerwhichhadahypnoticeffectonthewholeaudience.HisRappresentazionewasperformedtwiceinRomein1600.FifteenCardinalswerepresentatthefirstperformance.Itwasthefirstworkwritteninarecitatiostyle.Itisareligiousplay,relatedtothemedieval"mysteryplays,"especiallytothemoralityplayEveryman.ItisBuddhisticinbasicthemethehumansoul,blindedbyworldlylifeanddeceivedbypleasures,finallyhasarevelationofthetransitorinessandshallownessthenitrisestothehigherexperience,thesphereoftruehappiness,ofangelichostsandeternalpeace.

319In1822RossinivisitedBeethovenatthelatter'sVienneselodging.Twoimpressionsremainedvividlyanddominantlyafterwardsinthevisitor'smind:"...theindescribableuntidinessoftheroomandtheindefinablesadnessofBeethoven'sfeatures."Thequestionarises:Howcouldthecreatorofsuchjoyousmusicappearsounhappyhimself?

320WhatMozartexpressedinhisFortiethSymphonywaswhat,inadifferentway,Buddhaexpressedinmanyofhissermonsamelancholy,asadness,adissatisfactionwithlifeamountingalmosttorebelliousprotest.Yetinneithercasedoesoneleaveitwithafeelingofdespair,asonedoesinthecaseofTchaikovsky'sPathtiquesymphony.Onthecontrary,thereseemstobeawayofescape:withBuddhaplainlystatedasthe"NobleEightfoldPath"toNirvana,butwithMozartappearingonlyasthejoywhichissofundamentalinmostofhisotherworks.

321Brahmsgotcreativemoodsinthewoods.Walkingdidnotstopthemfromoccurring,despitethebody'smovements,whilethesolitudecombinedwithNaturetofosterhisinspiration.Itwasonlyathomethatheputhiscompositionintowriting.

322Mozartwasabletocomposeandcompleteawholesymphonyinhismindbeforeheputitdownonpaper.

323WagnerhimselftellsusthathecomposedParsifalasanescapefromthehumanevilsofthisworldandasanattempttopictureanoblerone.

324Therearemanypassages,melodies,piecesofinspiredmusic.TheseincludepartsofsuchworksasSaintMatthewPassion,TheMagicFlute,Haydn'sDuetSong,andBach'schurchmusic.

325Handel'sMessiahisasinspiredapieceofmusicasanyeverwritten.Itisacommunicationfromheaventoearth,fromthegodstoman.ThemachinehasmadeitavailableonascaleandtohomesimpossibleinthedayswhenHandelcomposedit.Allaspirantswhoneedtocultivatethereligiousdevotionalandreverentialsideoftheirnatureshouldhearitfromtimetotime.

326"I'veneverseenhimactlikethisbefore,"saidHandel'sservanttoafriend."Hejuststaresatmeanddoesn'tseeme.HesaidthegatesofheavenopenedwideforhimandGodHimselfwasthere.I'mafraidhe'sgoingmad."Butthefruitofthis"madness,"oftheselonghourswhenHandelrefusedtoeatandwroteandwrote,wasthegreatestoratoriowrittenduring,before,orafterhiscenturytheMessiah.



327Thesensitiveheartwillfeelinexpressiblygratefulforthesoothingmelodies,thepeacefraughtbarsofsuchmusicasBach'sfugues.Lifeistemporarilyglorifiedandredeemedunderthisspell.

328Handelsatforthreedaysmotionless.Then,outofthisphysicalandinnerstillnesstherecametohimthetremendouslyinspired,triumphantlymajesticstrainsoftheMessiah.

329ItwasanillandsufferingHandel,anageingandimpoverishedman,whogavetheworlditsgreatestoratorio.Howdidhedoit?Hesatimmobile,staringvacantlyintospaceuntiltheinspiringchorusesburstuponhisinnerears,andthenhewrotefeverishlyforhoursatatime.Thiswentonforthreeweeks.SowasborntheMessiah.

330TheunearthlybeautyofGregoriansacredchantsmustbringjoytosensitiveears,whetherthoseearsareCatholicorProtestant,HinduorMuhammedan,ifprejudicedoesnotintrudeitselfandblockordistortthehearing.

331Mendelssohn'sConcertoforViolinoffersnotonlybeautifulsoundstotheearbutalsocelestialpeacetotheheart.

332TheancientGreeksgavemoreimportancetosingingthantoinstrumentalmusic,forthereasonthatitwasassociatedwithwords,andhenceideas.

333IshallneverforgetthewonderfulmessagewhichRamanaMaharshisentmebythelipsofanIndianfriend(heneverwroteletters).ItwassomeyearsbeforehisdeathandmyfriendwasvisitingtheashrampreparatorytoavisittotheWest,whitherhewasbeingsentonamissionbyhisgovernment.Ihadlongbeenestrangedfromtheashrammanagement,andthereseemednolikelihoodofmyeverseeingthesaintagain.ThevisitormentionedtotheMaharisheethatheintendedtomeetme:wasthereanycommunicationofwhichhecouldbethebearer?"Yes,"saidtheMaharishee,"Whenheartspeakstoheart,whatistheretosay?"NowIdon'tknowifhewasawareofBeethoven'sexistenceinthedistantworldofWesternmusic,butIamcertainhecouldnothaveknownthatthededicationtotheMissaSolemniswas"Mayheartspeaktoheart."ThisisaworkwhoseinfrequentperformancestirsmetodepthswhenIhearit,soreverential,sosupernalisit.FewknowthatBeethovenhimselfregardedtheMissaashisgreatestcomposition.Itmustsurelybehismostspiritualcomposition,aperfectexpressionofthelinkbetweenmanandGod.

334ItissaidthatHandeldeclaredthathewishedtomakepeoplebetter,notjusttoentertainthem.

335Thewitchdoctorwhobeatsoutarhythmonhisdrumorwhohasanassistantdothesameaccomplishesaconcentrationofmind,alullingofthesenses,andarecessionfromtheworldforhishearerstoagreaterextentthantheywouldhavebeenabletoaccomplishforthemselves.

336Schubertwasdeeplyaffectedbythebeautyandtranquillityofeventide.Hissong"In



Abendrot"expressesthismood,andhowhiscomplaintsatlife,hisconfusionsinhumanrelationsfadeawaywhenviewingthesky'sredglory.

337InthechoiredsingingofaRussianchurch,intheSanskritchantingofaHinduashram,theSoulofbhaktifindsamagnificentoutlet.

338Artisnotonlyheretoembellishhumanexistence.Itisalsoheretoexpressdivineexistence.Ingoodconcertmusic,especially,amanmayfindthemostexaltedrefugefromthedrabrealismofhisprosaiceverydaylife.Forsuchmusicalonecanexpresstheetherealfeelings,thedivinestirringsandechoeswhichhavebeensuppressedbymundaneextroversion.ThethirdmovementofBeethoven'sQuartetinAMinor,forinstance,possessesgenuinemysticalfervour.Onemayderiveforafewminutesfromhearingitslongslowstrainsagravereverence,atimelesspatience,adeephumility,anutterresignationandwithdrawnnessfromtheturmoiloftheeverydayworld.

339InOratorio,musicrisestoitsmostspiritualheight.Itnotonlygivesthejoyousfeelingthatothermusicalformscangivebutalsoaspiritualmessage.

340Tchaikovsky'sPianoConcertoisgrandlybeautiful,spirituallyecstatic,happy,elevating,otherworldly.

341Refreshyourselfattheendofaday'shardworkwithfoodanddrinkandthensettledowntolistentoarecordingofBeethoven'sEmperorConcerto.Itwillenrichandrefineyourfeelingsuntil,attheend,yourmindwillbewellpreparedandelevatedtoenterthestateofmeditationandattuneitselftotheinfinitesilencedeepintheheart'score.Thus,thebeautyofmusiccanleadyoutothebeautyoftheOverself.

342InthegreatestworksofcomposerslikeBach,Beethoven,andVivaldi,wehearmusicwhichbringsusasclosetoinspiredmoodsasmusiccanbringhumanbeings.

343Amusicwhichenchantsthesenses,refinestheemotions,andtemporarilydissolvessomelimitationsofhumanexistencemustbeaninspiredone.

344Itishardtotranslatethesemomentsofupliftintomusicbut,asidefromandquitedifferentfromBeethoven's,Bach's,andHandel'smostreligiouscompositions,themusicgotbytheChinesefrompigeonsbytyingtinypipestotheirpinionfeathersandthenlettingaflockofthesebirdstakeflightismostspirituallysuggestive.

345AmanmayenjoylisteningtoBeethoventothatextentheappreciatesmusicandderivespleasurefromthephysicalsoundsbutifthisisasfarashegoeshehasnotsoundedart'sdepth.

346Musicfulfilsitshighestpurposewhenithonoursthehigherpowerinthataspectwhichisbeauty.

347



Churchmusicandchoirsingingmaybehelpfultoputacongregationintoamorereceptiveandworshipfulmoodbutwhentheyarerepeatedtoooften,becometoofamiliar,andarenolongerspontaneous,thereisthedangerthattheythenbecomemeretheatricalperformancesormusicalshows.

348WhohasnotfeltthestrengthwhichsomeofBeethoven'smusicimparts,farprofounderthanthemelodiousrhythmsofsomanyothercomposers'works,charmingthoughtheyare!

349MovedbytheexultationofBeethoven'smusic,theintensepassionbehinditall,hecancomenearertothehigherlife.

350Whyisitthatthedivinestoftheartsmusicisneverthelessthemostevanescentofthearts?

TheNotebooksarecopyright19841989,ThePaulBruntonPhilosophicFoundation.

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