The Complex Vision | Page 4

universal something, not itself, by which the soul is confronted, that something which, like a white screen, or a thick mass of darkness, waits the moving lamp of the soul to give it light and colour, it becomes clear that the name itself does not cover any actual reality other than the actual reality of all the bodies in the world joined together by the universal ether.
Is the term "objective mystery," therefore, no more than the name given to that first solid mass of external impression which the insight of the soul subsequently reduces to the shapes, colours, scents, sounds, and all the more subtle intimations springing from the innumerable bodies and souls which fill universal space? No. It is not quite this. It is a little deeper than this. It is, in fact, the mind's recognition that behind this first solid mass of external impression which the soul's own creative activity creates into its "universe" there must exist "something," some real substance, or matter, or world-stuff, in contact with which the soul half-creates and half-discovers the universe which it makes its own.
When, however, the soul has arrived at the knowledge that its own physical body is the outward expression of its inner self, and when by an act of faith or imagination it has extended this knowledge to every other bodily form in its universe, it ceases to be necessary to use the term "objective mystery"; since that something which the soul felt conscious of as existing behind the original solid mass of impressions is now known by the soul to be nothing else than an incredible number of living personalities, each with its own body.
And just as I make use in this book of the term "objective mystery," and then discard it in my final conclusion, so I make an emphatic and elaborate use of the term "creative" and then discard it, or considerably modify it, in my final conclusion.
My sequence of thought, in this matter of the soul's "creative" power, may thus be indicated. In the process of preparing the ground for those rare moments of illumination wherein we attain the eternal vision the soul is occupied, and the person attempting to think is occupied, with what I call "the difficult work of art" of concentrating its various energies and fusing them into one balanced point of rhythmic harmony. This effort of contemplative tension is a "creative effort" similar to that which all artists are compelled to make. In addition to this aspect of what I call "creation," there also remains the fact that the individual soul modifies and changes that first half-real something which I name the objective mystery, until it becomes all the colours, shapes, sounds and so forth, produced by the impression upon the soul of all the other personalities brought into contract with it by the omnipresent personality of the universal ether.
The words "creation" and "creative" axe thus made descriptive in this book of the simple and undeniable fact that everything which the mind touches is modified and changed by the mind; and that ultimately the universe which any mind beholds is an universe half-created by the mood of the mind which beholds it. And since the mood of any mind which contemplates the universe is dependent upon the relative "overcoming" in that particular soul of the emotion of malice by love, or of the emotion of love by malice, it becomes true to say that any universe which comes into existence is necessarily "created" by the original struggle, in the depths of some soul or other, of the conflicting emotions of love and malice.
And since the ideal of the emotion of love is life, and the ideal of the emotion of hate is death, it becomes true to say that the emotion of love is identical with the creative energy in all souls, while the emotion of malice is identical with the force which resists creation in all souls.
Why then do I drop completely, or at least considerably modify, this stress upon the soul's "creative" power in my final chapter? I am led to do so by the fact that such creative power in the soul is, after all, only a preparation for the eternal vision. Creative energy implies effort, tension, revolution, agitation, and the pain of birth. All these things have to do with preparing the ground for the eternal vision, and with the final gesture of the soul, by which it enters into that ultimate rhythm. But once having entered into that vision-- and in these things time is nothing--the rhythm which results is a rhythm upon which the soul rests, even as music rests upon music, or life rests upon life.
And the eternal vision, thus momentarily attained, and hereafter gathered together from the deep cisterns of memory, liberates us,