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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
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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!
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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."
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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.
51
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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,
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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
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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
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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.
85
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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.
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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
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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.
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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
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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
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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
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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.
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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.
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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.
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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
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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
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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
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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
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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:
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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.
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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
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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
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Churchmusicandchoirsingingmaybehelpfultoputacongregationintoamorereceptiveandworshipfulmoodbutwhentheyarerepeatedtoooften,becometoofamiliar,andarenolongerspontaneous,thereisthedangerthattheythenbecomemeretheatricalperformancesormusicalshows.
348WhohasnotfeltthestrengthwhichsomeofBeethoven'smusicimparts,farprofounderthanthemelodiousrhythmsofsomanyothercomposers'works,charmingthoughtheyare!
349MovedbytheexultationofBeethoven'smusic,theintensepassionbehinditall,hecancomenearertothehigherlife.
350Whyisitthatthedivinestoftheartsmusicisneverthelessthemostevanescentofthearts?
TheNotebooksarecopyright19841989,ThePaulBruntonPhilosophicFoundation.