MYSTICISM (Complete Edition). Evelyn Underhill

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СКАЧАТЬ which — transcending, as it does, all human powers of expression — he can only describe to us as dark. But there is — must be — contact “in an intelligible where” between every individual self and this Supreme Self, this Ultimate. In the mystic this union is conscious, personal, and complete. “He enjoys,” says St. John of the Cross, “a certain contact of the soul with the Divinity; and it is God Himself who is then felt and tasted.”112 More or less according to his measure, he has touched — or better, been touched by — the substantial Being of Deity, not merely its manifestation in life. This it is which distinguishes him from the best and most brilliant of other men, and makes his science, in Patmore’s words, “the science of self-evident Reality.” Gazing with him into that unsearchable ground whence the World of Becoming comes forth “eternally generated in an eternal Now,” we may see only the icy darkness of perpetual negations: but he, beyond the coincidence of opposites, looks upon the face of Perfect Love.

      As genius in any of the arts is — humanly speaking — the final term of a power of which each individual possesses the rudiments, so mysticism may be looked upon as the final term, the active expression, of a power latent in the whole race: the power, that is to say, of so perceiving transcendent reality. Few people pass through life without knowing what it is to be at least touched by this mystical feeling. He who falls in love with a woman and perceives — as the lover really does perceive — that the categorical term “girl” veils a wondrous and unspeakable reality: he who, falling in love with nature, sees the landscape “touched with light divine,” — a charming phrase to those who have not seen it, but a scientific statement to the rest — he who falls in love with the Holy, or as we say “undergoes conversion”: all these have truly known for an instant something of the secret of the world.113

      “. . . Ever and anon a trumpet sounds

       From the hid battlement of Eternity,

       Those shaken mists a space unsettle, then

       Round the half-glimpsèd turrets slowly wash again.”

      At such moments “Transcendental Feeling, welling up from another ‘Part of the Soul’ whispers to Understanding and Sense that they are leaving out something. What? Nothing less than the secret plan of the Universe. And what is that secret plan? The other ‘Part of the Soul’ indeed comprehends it in silence as it is, but can explain it to the Understanding only in the symbolical language of the interpreter, Imagination — in Vision.”114

      Here, in this spark or “part of the soul” where the spirit, as religion says, “rests in God who made it,” is the fountain alike of the creative imagination and the mystic life. Now and again something stings it into consciousness, and man is caught up to the spiritual level, catches a glimpse of the “secret plan.” Then hints of a marvellous truth, a unity whose note is ineffable peace, shine in created things; awakening in the self a sentiment of love, adoration, and awe. Its life is enhanced, the barrier of personality is broken, man escapes the sense-world, ascends to the apex of his spirit, and enters for a brief period into the more extended life of the All.

      This intuition of the Real lying at the root of the visible world and sustaining its life, is present in a modified form in the arts: perhaps it were better to say, must be present if these arts are so justify themselves as heightened forms of experience. It is this which gives to them that peculiar vitality, that strange power of communicating a poignant emotion, half torment and half joy, which baffle their more rational interpreters. We know that the picture which is “like a photograph,” the building which is at once handsome and commodious, the novel which is a perfect transcript of life, fail to satisfy us. It is difficult to say why this should be so, unless it were because these things have neglected their true business; which was not to reproduce the illusions of ordinary men but to catch and translate for us something of that “secret plan,” that reality which the artistic consciousness is able, in a measure, to perceive. “Painting as well as music and poetry exists and exults in immortal thoughts,” says Blake.115 That “life-enhancing power” which has been recognized as the supreme quality of good painting,116 has its origin in this contact of the artistic mind with the archetypal — or, if you like, the transcendental — world: the underlying verity of things.

      A critic, in whom poetic genius has brought about the unusual alliance of intuition with scholarship, testifies to this same truth when he says of the ideals which governed early Chinese painting, “In this theory every work of art is thought of as an incarnation of the genius of rhythm, manifesting the living spirit of things with a clearer beauty and intenser power than the gross impediments of complex matter allow to be transmitted to, our senses in the visible world around us. A picture is conceived as a sort of apparition from a more real world of essential life.” 117

      That “more real world of essential life” is the world in which the “free soul” of the great mystic dwells; hovering like the six-winged seraph before the face of the Absolute.118 The artist too may cross its boundaries in his brief moments of creation: but he cannot stay. He comes back to us, bearing its tidings, with Dante’s cry upon his lips —

      “. . . Non eran da ciò le proprie penne

       se non che la mia mente fu percossa

       da un fulgore, in che sua voglia venne.” 119

      The mystic may say — is indeed bound to say — with St. Bernard, “My secret to myself.” Try how he will, his stammering and awestruck reports can hardly be understood but by those who are already in the way. But the artist cannot act thus. On him has been laid the duty of expressing something of that which he perceives. He is bound to tell his love. In his worship of Perfect Beauty faith must be balanced by works. By means of veils and symbols he must interpret his free vision, his glimpse of the burning bush, to other men. He is the mediator between his brethren and the divine, for art is the link between appearance and reality.120

      But we do not call every one who has these partial and artistic intuitions of reality a mystic, any more than we call every one a musician who has learnt to play the piano. The true mystic is the person in whom such powers transcend the merely artistic and visionary stage, and are exalted to the point of genius: in whom the transcendental consciousness can dominate the normal consciousness, and who has definitely surrendered himself to the embrace of Reality. As artists stand in a peculiar relation to the phenomenal world, receiving rhythms and discovering truths and beauties which are hidden from other men, so this true mystic stands in a peculiar relation to the transcendental world, there experiencing actual, but to us unimaginable tension and delight. His consciousness is transfigured in a particular way, he lives at different levels of experience from other people: and this of course means that he sees a different world, since the world as we know it is the product of certain scraps or aspects of reality acting upon a normal and untransfigured consciousness. Hence his mysticism is no isolated vision, no fugitive glimpse of reality, but a complete system of life carrying its own guarantees and obligations. As other men are immersed in and react to natural or intellectual life, so the mystic is immersed in and reacts to spiritual life. He moves towards that utter identification with its interests which he calls “Union with God.” He has been called a lonely soul. He might more properly be described as a lonely body: for his soul, peculiarly responsive, sends out and receives communications upon every side.

      The earthly artist, because perception brings with it the imperative longing for expression, tries to give us in colour, sound or words a hint of his ecstasy, his glimpse of truth. Only those who have tried, know how small a fraction of his vision he can, under the most favourable circumstance, contrive to represent. The mystic, too, tries very hard to tell an unwilling world his secret. But in his case, the difficulties are enormously increased. First, there is the huge disparity between his unspeakable experience and the language which will most nearly suggest it. Next, there is the great gulf fixed between his mind and the mind of the world. His audience must be bewitched as well as addressed, caught up to something of his state, before they can СКАЧАТЬ