The Creative Process in the Individual | Page 9

have seen, its root in the Self-contemplation of Spirit renders it of necessity an Infinite Progression. So it is no use asking what is its ultimate, for it has no ultimate--its word is "Excelsior"--ever Life and "Life more Abundant." Therefore the question is not as to finality where there is none, but as to the next step in the progression. Four kingdoms we know: what is to be the Fifth? All along the line the progress has been in one direction, namely, toward the development of more perfect Individuality, and therefore on the principle of continuity we may reasonably infer that the next stage will take us still further in the same direction. We want something more perfect than we have yet reached, but our ideas as to what it should be are very various, not to say discordant, for one person's idea of better is another person's idea of worse. Therefore what we want to get at is some broad generalization of principle which will be in advance of our past experiences. This means that we must look for this principle in something that we have not yet experienced, and the only place where we can possibly find principles which have not yet manifested themselves is in gremio Dei--that is, in the innermost of the Originating Spirit, or as St. John calls it, "in the bosom of the Father." So we are logically brought to personal participation in the Divine Ideal as the only principle by which the advance into the next stage can possibly be made. Therefore we arrive at the question, What is the Divine Ideal like?
CHAPTER III
THE DIVINE IDEAL
What is the Divine Ideal? At first it might appear hopeless to attempt to answer such a question, but by adhering to a definite principle we shall find that it will open out, and lead us on, and show us things which we could not otherwise have seen--this is the nature of principle, and is what distinguishes it from mere rules which are only the application of principle under some particular set of conditions. We found two principles as essential in our conception of the Originating Spirit, namely its power of Selection and its power of Initiative; and we found a third principle as its only possible Motive, namely the Desire of the LIVING for ever increasing Enjoyment of Life. Now with these three principles as the very essence of the All-originating Spirit to guide us, we shall, I think, be able to form some conception of that Divine Ideal which gives rise to the Fifth Stage of Manifestation of Spirit, upon which we should now be preparing to enter.
We have seen that the Spirit's Enjoyment of Life is necessarily a reciprocal--it must have a corresponding fact in manifestation to answer to it; otherwise by the inherent law of mind no consciousness, and consequently no enjoyment, could accrue; and therefore by the law of continuous progression the required Reciprocal should manifest as a being awakening to the consciousness of the principle by which he himself comes into existence.
Such an awakening cannot proceed from a comparison of one set of existing conditions with another, but only from the recognition of a Power which is independent of all conditions, that is to say, the absolute Self-dependence of the Spirit. A being thus awakened would be the proper correspondence of the Spirit's Enjoyment of Life at a stage not only above mechanical motion or physical vitality, but even above intellectual perception of existing phenomena, that is to say at the stage where the Spirit's Enjoyment consists in recognizing itself as the Source of all things. The position in the Absolute would be, so to speak, the awakening of Spirit to the recognition of its own Artistic Ability. I use the word "Artistic" as more nearly expressing an almost unstatable idea than any other I can think of, for the work of the artist approaches more closely to creation ex nihilo than any other form of human activity. The work of the artist is the expression of the self that the artist is, while that of the scientist is the comparison of facts which exist independently of his own personality. It is true that the realm of Art is not without its methods of analysis, but the analysis is that of the artist's own feeling and of the causes which give rise to it. These are found to contain in themselves certain principles which are fundamental to all Art, but these principles are the laws of the creative action of mind rather than those of the limitations of matter. Now if we may transfer this familiar analogy to our conception of the working of the All-Originating Mind we may picture it as the Great Artist giving visible expression to His feeling by