In those abnormal types of personality to which we give the name of genius, we seem to detect a hint of the relations which may exist between these deep levels of being and the crust of consciousness. In the poet, the musician, the great mathematician or inventor, powers lying below the threshold, and hardly controllable by their owner’s conscious will, clearly take a major part in the business of perception and conception. In all creative acts, the larger share of the work is done subconsciously: its emergence is in a sense automatic. This is equally true of mystics, artists, philosophers, discoverers, and rulers of men. The great religion, invention, work of art, always owes its inception to some sudden uprush of intuitions or ideas for which the superficial self cannot account; its execution to powers so far beyond the control of that self, that they seem, as their owner sometimes says, to “come from beyond.” This is “inspiration”; the opening of the sluices, so that those waters of truth in which all life is bathed may rise to the level of consciousness.
The great teacher, poet, artist, inventor, never aims deliberately at his effects. He obtains them he knows not how: perhaps from a contact of which he is unconscious with that creative plane of being which the Sufis call the Constructive Spirit, and the Kabalists Yesod, and which both postulate as lying next behind the world of sense. “Sometimes,” said the great Alexandrian Jew Philo, “when I have come to my work empty, I have suddenly become full; ideas being in an invisible manner showered upon me, and implanted in me from on high; so that through the influence of divine inspiration, I have become greatly excited, and have known neither the place in which I was, nor those who were present, nor myself, nor what I was saying, nor what I was writing; for then I have been conscious of a richness of interpretation, an enjoyment of light, a most penetrating insight, a most manifest energy in all that was to be done; having such an effect on my mind as the clearest ocular demonstration would have on the eyes.”99 This is a true creative ecstasy, strictly parallel to the state in which the mystic performs his mighty works.
To let oneself go, be quiet, receptive, appears to be the condition under which such contact with the Cosmic Life may be obtained. “I have noticed that when one paints one should think of nothing: everything then comes better,” says the young Raphael to Leonardo da Vinci.100 The superficial self must here acknowledge its own insufficiency, must become the humble servant of a more profound and vital consciousness. The mystics are of the same opinion. “Let the will quietly and wisely understand,” says St. Teresa, “that it is not by dint of labour on our part that we can converse to any good purpose with God.”101 “The best and noblest way in which thou mayst come into this Life,” says Eckhart, “is by keeping silence and letting God work and speak. Where all the powers are withdrawn from their work and images, there is this word spoken . . . the more thou canst draw in all thy powers and forget the creature the nearer art thou to this, and the more receptive.”102
Thus Boehme says to the neophyte,103 “When both thy intellect and will are quiet and passive to the expressions of the eternal Word and Spirit, and when thy soul is winged up above that which is temporal, the outward senses and the imagination being locked up by holy abstraction, then the eternal Hearing, Seeing, and Speaking will be revealed in thee. Blessed art thou therefore if thou canst stand still from self thinking and self willing, and canst stop the wheel of thy imagination and senses.” Then, the conscious mind being passive, the more divine mind below the threshold — organ of our free creative life — can emerge and present its reports. In the words of an older mystic, “The soul, leaving all things and forgetting herself, is immersed in the ocean of Divine Splendour, and illuminated by the Sublime Abyss of the Unfathomable Wisdom.”104
The “passivity” of contemplation, then, is a necessary preliminary of spiritual energy: an essential clearing of the ground. It withdraws the tide of consciousness from the shores of sense, stops the “wheel of the imagination.” “The Soul,” says Eckhart again, “is created in a place between Time and Eternity: with its highest powers it touches Eternity, with its lower Time.”105 These, the worlds of Being and Becoming, are the two “stages of reality” which meet in the spirit of man. By cutting us off from the temporal plane, the lower kind of reality, Contemplation gives the eternal plane, and the powers which can communicate with that plane, their chance. In the born mystic these powers are great, and lie very near the normal threshold of consciousness. He has a genius for transcendental — or as he would say, divine — discovery in much the same way as his cousins, the born musician and poet, have a genius for musical or poetic discovery. In all three cases, the emergence of these higher powers is mysterious, and not least so to those who experience it. Psychology on the one hand, theology on the other, may offer us diagrams and theories of this proceeding: of the strange oscillations of the developing consciousness, the fitful visitations of a lucidity and creative power over which the self has little or no control, the raptures and griefs of a vision by turns granted and withdrawn. But the secret of genius still eludes us, as the secret of life eludes the biologist.
The utmost we can say of such persons is, that reality presents itself to them under abnormal conditions and in abnormal terms, and that subject to these conditions and in these terms they are bound to deal with it. Thanks to their peculiar mental make up, one aspect of the universe is for them focussed so sharply that in comparison with it all other images are blurred, vague, and unreal. Hence the sacrifice which men of genius — mystics, artists, inventors — make of their whole lives to this one Object, this one vision of truth, is not self-denial, but rather self-fulfilment. They gather themselves up from the unreal, in order to concentrate on the real. The whole personality then absorbs or enters into communion with certain rhythms or harmonies existent in the universe, which the receiving apparatus of other selves cannot take up. “Here is the finger of God, a flash of the Will that can!” exclaims Abt Vogler, as the sounds grow under his hand. “The numbers came!“ says the poet. He knows not how, certainly not by deliberate intellection.
So it is with the mystic. Madame Guyon states in her autobiography, that when she was composing her works she would experience a sudden and irresistible inclination to take up her pen; though feeling wholly incapable of literary composition, and not even knowing the subject on which she would be impelled to write. If she resisted this impulse it was at the cost of the most intense discomfort. She would then begin to write with extraordinary swiftness; words, elaborate arguments, and appropriate quotations coming to her without reflection, and so quickly that one of her longest books was written in one and a half days. “In writing I saw that I was writing of things which I had never seen: and during the time of this manifestation, I was given light to perceive that I had in me treasures of knowledge and understanding which I did not know that I possessed.”106
Similar statements are made of St. Teresa, who declared that in writing her books she was powerless to set down anything but that which her Master put into her mind.107 So Blake said of “Milton” and “Jerusalem,” “I have written the poems from immediate dictation, twelve or sometimes twenty or thirty lines at a time, without premeditation and even against my will. The time it has taken in writing was thus rendered non-existent, and an immense poem exists which seems to be the labour of a long life, all produced without labour or study.”108
These are, of course, extreme forms of that strange power of automatic composition, in which words and characters arrive and arrange themselves in defiance of their authors’ will, of which most poets and novelists possess a trace. Such composition is probably related to the automatic writing of “mediums” and other sensitives; in which the often disorderly and incoherent subliminal mind seizes upon this channel of expression. The subliminal mind of the great mystic, however, is not disorderly. It is abnormally sensitive, richly endowed and keenly observant — a treasure house, not a lumber room — and becomes in the course of its education, a highly disciplined and skilled instrument of knowledge. When, therefore, its contents emerge, and are presented to the normal consciousness in the form of lucidity, “auditions,” visions, automatic writing, or any other translations of the supersensible into the terms of sensible perception, they cannot be discredited because the worthless unconscious region of feebler natures sometimes manifests itself in the same way. Idiots are often voluble: but many orators are sane.
Now, to sum up: what are the chief