Practical Mysticism - Evelyn Underhill (free novel 24 TXT) 📗

so exasperating to those who are not⁠—that man dwells, under normal conditions, in a world of imagination rather than a world of facts; that the universe in which he lives and at which he looks is but a construction which the mind has made from some few amongst the wealth of materials at its disposal.

The relation of this universe to the world of fact is not unlike the relation between a tapestry picture and the scene which it imitates. You, practical man, are obliged to weave your image of the outer world upon the hard warp of your own mentality; which perpetually imposes its own convention, and checks the free representation of life. As a tapestry picture, however various and full of meaning, is ultimately reducible to little squares; so the world of common sense is ultimately reducible to a series of static elements conditioned by the machinery of the brain. Subtle curves, swift movement, delicate gradation, that machinery cannot represent. It leaves them out. From the countless suggestions, the tangle of many-coloured wools which the real world presents to you, you snatch one here and there. Of these you weave together those which are the most useful, the most obvious, the most often repeated: which make a tidy and coherent pattern when seen on the right side. Shut up with this symbolic picture, you soon drop into the habit of behaving to it as though it were not a representation but a thing. On it you fix your attention; with it you “unite.” Yet, did you look at the wrong side, at the many short ends, the clumsy joins and patches, this simple philosophy might be disturbed. You would be forced to acknowledge the conventional character of the picture you have made so cleverly, the wholesale waste of material involved in the weaving of it: for only a few amongst the wealth of impressions we receive are seized and incorporated into our picture of the world. Further, it might occur to you that a slight alteration in the rhythm of the senses would place at your disposal a complete new range of material; opening your eyes and ears to sounds, colours, and movements now inaudible and invisible, removing from your universe those which you now regard as part of the established order of things. Even the strands which you have made use of might have been combined in some other way; with disastrous results to the “world of common sense,” yet without any diminution of their own reality.

Nor can you regard these strands themselves as ultimate. As the most prudent of logicians might venture to deduce from a skein of wool the probable existence of a sheep; so you, from the raw stuff of perception, may venture to deduce a universe which transcends the reproductive powers of your loom. Even the camera of the photographer, more apt at contemplation than the mind of man, has shown us how limited are these powers in some directions, and enlightened us as to a few of the cruder errors of the person who accepts its products at face-value; or, as he would say, believes his own eyes. It has shown us, for instance, that the galloping racehorse, with legs stretched out as we are used to see it, is a mythical animal, probably founded on the mental image of a running dog. No horse has ever galloped thus: but its real action is too quick for us, and we explain it to ourselves as something resembling the more deliberate dog-action which we have caught and registered as it passed. The plain man’s universe is full of racehorses which are really running dogs: of conventional waves, first seen in pictures and then imagined upon the sea: of psychological situations taken from books and applied to human life: of racial peculiarities generalised from insufficient data, and then “discovered” in actuality: of theological diagrams and scientific “laws,” flung upon the background of eternity as the magic lantern’s image is reflected on the screen.

The coloured scene at which you look so trustfully owes, in fact, much of its character to the activities of the seer: to that process of thought⁠—concept⁠—cogitation, from which Keats prayed with so great an ardour to escape, when he exclaimed in words which will seem to you, according to the temper of your mind, either an invitation to the higher laziness or one of the most profound aspirations of the soul, “O for a life of sensations rather than thoughts!” He felt⁠—as all the poets have felt with him⁠—that another, lovelier world, tinted with unimaginable wonders, alive with ultimate music, awaited those who could free themselves from the fetters of the mind, lay down the shuttle and the weaver’s comb, and reach out beyond the conceptual image to intuitive contact with the Thing.

There are certain happy accidents which have the power of inducting man for a moment into this richer and more vital world. These stop, as one old mystic said, the “wheel of his imagination,” the dreadful energy of his image-making power weaving up and transmuting the incoming messages of sense. They snatch him from the loom and place him, in the naked simplicity of his spirit, face to face with that Other than himself whence the materials of his industry have come. In these hours human consciousness ascends from thought to contemplation; becomes at least aware of the world in which the mystics dwell; and perceives for an instant, as St. Augustine did, “the light that never changes, above the eye of the soul, above the intelligence.” This experience might be called in essence “absolute sensation.” It is a pure feeling-state; in which the fragmentary contacts with Reality achieved through the senses are merged in a wholeness of communion which feels and knows all at once, yet in a way which the reason can never understand, that Totality of which fragments are known by the lover, the musician, and the artist. If the doors of perception were