The full significance of this ultimate duality would be rendered abortive if the future were determined in any more definite way than by the premonition, the hope, the dream, the pa.s.sion, the prophecy, the vision, of those invisible companions whose existence is implied whenever two separate souls communicate their thoughts to one another.
It is by our will that the future is created; but around the will hover intermittently many unfathomable motives. And the pre-existent motive, which finally gives the shape to the future, holds the future already in its hand. And this surviving motive, ultimately selected by our will, is of necessity purged and tested by a continual comparison with that form, that idea, that dream, that vision, which is implied from the beginning and which I name "the vision of the invisible companions."
The philosophical enquiry upon which we are engaged finds its starting point, then, in nothing less than that revelation of the complex vision which is also the goal of its journey. The complex vision, in the rhythmic play of its united attributes, makes use of a synthetic power which I call its apex-thought.
The supreme activity of this apex-thought is centred about those primordial ideas of truth, beauty and n.o.bility which are the very stuff and texture of its being. In the ecstasy of its creative and receptive "rapport" with these it becomes aware of the presence of certain immortal companions whose vision is at once the objective standard of such ideas and the premonition of their fuller realization.
In thus attempting to articulate and clarify the main outlines of our starting point, a curious situation emerges. The actual _spectacle_, or ma.s.s of impressions to be dealt with, presents itself, we are forced to suppose, as more or less identical, in its general appearance, in every human consciousness. And this "general situation" is strange enough.
We find ourselves, motionless or moving, surrounded by earth and air and s.p.a.ce. Impressions flow past us and flow through us. We ourselves seem at the same time able to move from point to point in this apparently real universe and able to remain, as invisible observers, outside all the phenomena of time and s.p.a.ce. As the ultimate invisible spectator of the whole panorama, or, in the logical phrase, as the "a priori unity of apperception" our consciousness cannot be visualized in any concrete image.
But as the empirical personal self, able to move about within the circle of the objective universe, the soul is able to visualize itself pictorially and imaginatively, although not rationally or logically.
These two revelations of the situation are simultaneously disclosed; and although the first-named of them--the "a priori unity of apperception"--might seem to claim, on the strength of this "a priori" a precedence over the second, it has no real right to make such a claim. The truth of the situation is indeed the reverse of this; and upon this truth, more than upon anything else, our whole method of enquiry depends. For the fact that we are unable to think of our integral personal self _as actually_ being this "a priori"
consciousness, and are not only able but are bound to think of our integral personal self as _actually being_ this individual "soul"
within time and s.p.a.ce, we are driven to the conclusion that this "a priori" observer outside time and s.p.a.ce is nothing more than an inevitable trick or law or aspect or play of our isolated logical reason.
Our logical reason is itself only one attribute of our real concrete self, the self which exists within time and s.p.a.ce; and therefore we reach the conclusion that this "a priori unity," which seems outside time and s.p.a.ce, is nothing but a necessary inevitable abstraction from the concrete reality of our personal self which is within time and s.p.a.ce. There is no need to be startled at the apparent paradox of this, as though the lesser were including the larger or the part the whole, because when s.p.a.ce and time are eliminated there can be no longer any large or small or whole or part. All are equal there because all are equally nothing there.
This "a priori" unity of consciousness, outside time and s.p.a.ce, is only real in so far as it represents the inevitable manner in which reason has to work when it works in isolation, and therefore compared with the reality of the personal self, within time and s.p.a.ce, it is unreal.
And it is obvious that an unreal thing cannot be larger than a real thing; nor can an unreal thing be a whole of which a real thing is a part.
The method therefore of philosophic enquiry, which I name "the philosophy of the complex vision," depends upon the realization of the difference between what is only the inevitable play of reason, working in isolation, and what is the inevitable play of all the attributes of the human soul when they are held together by the synthetic activity of what I name the "apex-thought." But this logical revelation of the "a priori" unity of consciousness outside of time and s.p.a.ce is not the only result of the isolated play of some particular attribute of personality. Just as the isolated play of reason evokes this result, so the isolated play of self-consciousness evokes yet another result, which we have to recognize as intervening between this ultimate logical unity and the real personal self.
The abstraction evoked by the isolated play of self-consciousness is obviously nearer reality and less of an abstraction than the merely logical one above-named, because self-consciousness has more of the personal self in it than reason or logic can have. But though nearer reality and less of an abstraction than the other, this revelation of the inevitable play of self-consciousness, working by itself, is also unreal in relation to the revelation of the concrete personal individual soul. This revelation of self-consciousness, working in isolation, has as its result the conception of one universal "I am I" or cosmic self, which is nothing more or less than the whole universe, contemplating itself as its own object. To this conception are we driven, when in isolation from the soul"s other attributes our self-consciousness gives itself up to its own activity.
The "I am I" which we then seek to articulate is an "I am I" reached by the negation or suppression of that primordial act of faith which is the work of the imagination. This act of faith, thus negated and suppressed in order that this unreal cosmic self may embrace the universe, is the act of faith by which we become aware of the existence of innumerable other "selves," besides our own self, filling the vast s.p.a.ces of nature.
The difference between the sensation we have of our own body and the sensation we have of the rest of the universe ceases to exist when self-consciousness thus expands; and the conceptions we arrive at can only be described as the idea that the whole universe with all the bodies which it contains--including our own body--is nothing but one vast manifestation of one vast mind which is our own "I am I."
It must not be supposed that this abstraction evoked by the solitary activity of self-consciousness is any more a "whole," of which the real self is a "part," than the logical "a priori unity" is a whole, of which the real self is a part. Both are abstractions. Both are unreal.
Both are shadowy projections from the true reality, which is the personal self existing side by side with "the immortal companions."
Nor must it be supposed that these primordial aspects of life are of equal importance and that we have an equal right to make of any one of them the starting point of our enquiry. The starting point of our enquiry, and the end of our enquiry also, can be nothing else than the innumerable company of individual "souls," mortal and immortal, confronting the mystery of the universe.
The philosophy of the complex vision is not a mechanical philosophy; it is a creative philosophy. And as such it includes in it from the beginning a certain element of faith and a certain element which I can only describe as "the impossible." It may seem ridiculous to some minds that the conception of the "impossible"
should be introduced into any philosophy at the very start. The complex vision is, however, essentially creative. The creation of something really new in the world is regarded by pure reason as impossible. Therefore the element of "the impossible" must exist in this philosophy from the very start. The act of faith must also exist in it; for the imagination is one of the primary aspects of the complex vision and the act of faith is one of the basic activities of the imagination.
The complex vision does not regard history as a progressive predetermined process. It regards history as the projection, by advance and retreat, of the creative and resistant power of individual souls. That the "invisible companions" should be in eternal contact with every living "soul" is a rational impossibility; and yet this impossibility is what the complex vision, using the faith of its creative imagination, reveals as the truth.
The imagination working in isolation is able, like reason and self-consciousness, to fall into curious distortions and aberrations.
One has only to survey the field of dogmatic religion to see how curiously astray it may be led. It is only by holding fast to the high rare moments when the apex-thought attains its consummation that we are able to keep such isolated acts of faith in their place and prevent the element of the "impossible" becoming the element of the absurd. The philosophy of the complex vision, though far more sympathetic to much that is called "materialism" than to much that is called "idealism," certainly cannot itself be regarded as materialistic. And it cannot be so regarded because its central a.s.sumption and implication is the concrete basis of personality which we call the "soul." And the "soul," when we think of it as something real, must inevitably be a.s.sociated with what might be called "the vanishing point of sensation." In other words the soul must be thought of as having some kind of "matter" or "energy" or "form" as its ultimate life, and yet as having no kind of "matter" or "energy" or "form." The soul must be regarded as "something" which is living and real and concrete, and which has a definite existence in time and s.p.a.ce, and which is subject to annihilation; but the stuff out of which the soul is made is not capable of a.n.a.lysis, and can only be accepted by such an act of faith as that which believes in "the impossible."
The fact that the philosophy of the complex vision a.s.sumes as its only axiom the concrete reality of the "soul" within us which is so difficult to touch or handle or describe and yet which we feel to be so much more real than our physical body, justifies us in making an experiment which to many minds will seem uncalled for and ridiculous. I mean the experiment of trying to visualize, by an arbitrary exercise of fancy, the sort of form or shape which this formless and shapeless thing may be imagined as possessing.
Metaphysical discussion tends so quickly to become thin and abstract and unreal; words themselves tend so quickly to become "dead wood" rather than living branches and leaves; that it seems advisable, from the point of view of getting nearer reality, to make use sometimes of a pictorial image, even though such an image be crudely and clumsily drawn.
Pictorial images are always treacherous and dangerous; but, as I have hinted, it is sometimes necessary, considering the intricate and delicately balanced character of man"s complex vision, to make a guarded and cautious use of them, so as to arrive at truth "sideways," so to speak, and indirectly.
One of the curious psychological facts, in connection with the various ways in which various minds function, is the fact that when in these days we seek to visualize, in some pictorial manner, our ultimate view of life, the images which are called up are geometrical or chemical rather than anthropomorphic. It is probable that even the most rational and logical among us as soon as he begins to philosophize at all is compelled by the necessity of things to form in the mind some vague pictorial representation answering to his conception of the universe.
The real inherent nature of such a philosophy would be probably understood and appreciated far better, both by the philosopher himself and by his friends, if this vague pictorial projection could be actually represented, in words or in a picture.
Most minds see the universe of their mental conception as something quite different from the actual stellar universe upon which we all gaze. Even the most purely rational minds who find the universe in "pure thought" are driven against their rational will to visualize this "pure thought" and to give it body and form and shape and movement.
These hidden and subconscious representations, in terms of sensible imagery, of the conclusions of philosophic thought, are themselves of profound philosophical interest. We cannot afford to neglect them. They are at least proof of the inalienable part played, in the functioning of our complex vision, by _sensation_ as an organ of research. But they have a further interest. They are an illuminating revelation of the inherent character and personal bias of the individual soul who is philosophizing. I suppose to a great many minds what we call "the universe" presents itself as a colossal circle, without any circ.u.mference, filled with an innumerable number of material objects floating in some thin attenuated ether. I suppose the centre of this circle with no circ.u.mference is generally a.s.sumed to be the "self" or "soul" of the person projecting this particular image.
Doubtless, in some cases, it is a.s.sumed to be such a person"s physical body as it feels itself conscious of sensation and is aware of s.p.a.ce and time.
As I myself use the expression "complex vision" I suppose I call up in the minds of my various readers an extraordinary variety of pictorial images. Without laying any undue stress upon this pictorial tendency, I should like to indicate the kind of projected image which I myself am conscious of, when I use the expression, "the complex vision."
I seem to visualize this thing as a wavering, moving ma.s.s of flames, taking the shape of what might be called a "horizontal pyramid," the apex of which, where the flames are fused and lost in one another, is continually cleaving the darkness like the point of a fiery arrow, while the base of it remains continually invisible by reason of some magical power which confuses the senses whenever they seek to touch or to hold it.
Sometimes I seem to see this "base" or "spear handle" or "arrow shaft," of my moving horizontal pyramid, as a kind of deeper darkness; sometimes as a vibration of air; sometimes as a cloud of impenetrable smoke. I am always conscious of the curious fact that, while I can most vividly see the apex-point of the thing, and while I know that this moving pyramid of fire has a base, there is for ever some drastic natural law or magical power at work that obscures my vision whenever I turn my eyes to the place where I know it exists.
I have not mentioned this particular pictorial image with any wish to lay undue stress upon it. In all rarified and subtle experiments of thought pictorial images are quite as likely to hinder us in our groping towards reality as they are to help us. If my image of a moving, horizontal pyramid with an apex-point of many names fused into one and a base of impenetrable invisibility seems to any reader of this pa.s.sage a ridiculous and arbitrary fancy I would merely ask such an one to let it go, and to consider my description of the complex vision quite independently of it.
Sometimes to myself it appears ridiculous; and I only, as we put it, "throw it out" in order that, if it has the least illuminative value, such a value should not be quite lost. Any reader who regards my particular picture as absurd is perfectly at liberty to form his own pictorial image of what I am endeavouring to make clear. He may, if he pleases, visualize "the soul" as a sort of darkened planet from which the attributes of the complex vision radiate to the right or to the left, as the thing moves through immensity. All I ask is that these attributes should be thought of as converging to a point and as finding their "base" in some thing which is felt to exist but cannot be described.
Probably to a thorough-going empiricist, and certainly to a thorough-going materialist, it will appear quite unnecessary to translate the obvious spectacle of the world, with oneself as a physical body in the centre of it, into mental symbols and pictorial representations of the above character. Of such an one I would only ask, in what sort of manner he visualizes, when he thinks of it at all, the "soul" which he feels conscious of in his own body; and in the second place how he visualizes the connection between the will, the instinct, the reason and so forth, which animate his body and endow it with living purpose? It will be found much easier for critics to reject the particular image which has commended itself to me as suggestive of the mystery with which we have to deal, than for them to drive out and expel from their own thought the insidious human tendency towards pictorial representation.
I would commend to any sardonic psychologist whose "malice"
leads him to derive pleasure from the little weaknesses of philosophers, to turn his attention to the ideal systems of supposedly "pure thought." He will find infinite satisfaction for his spleen in the crafty manner in which "impure" thought--that is to say thought by means of pictorial images--pa.s.ses itself off as "pure" and conceals its lapses.
Truth, as the complex vision clearly enough reveals to us, refuses to be dealt with by "pure" thought. To deal with truth one has to use "impure" thought, in other words thought that is dyed in the grain by taste, instinct, intuition, imagination. And every philosopher who attempts to round off his system by pure reason alone, and who refuses to recognize that the only adequate organ of research is the complex vision, is a philosopher who sooner or later will be caught red-handed in the unphilosophic act of covering his tracks.
No philosopher is on safe ground, no philosopher can offer us a ma.s.sive organic concrete representation of reality who is shy of all pictorial images. They are dangerous and treacherous things; but it is better to be led astray by them than to avoid them altogether.
The mythological symbolism of antique thought was full of this pictorial tendency and even now the shrewdest of modern thinkers are compelled to use images drawn from antique mythology. Poetic thought may go astray. But it can never negate itself into quite the thin simulacrum of reality into which pure reason divorced from poetic imagery is capable of fading.
After all, the most obstinate and irreducible of all pictorial representations is the obvious one of the material universe with our physical body as the centre of it. But even this is not complete. In fact it is extremely far from complete, directly we think closely about it. For not only does such a picture omit the real centre, that indescribable "something" we call the "soul," it also loses itself in unthinkable darkness when it considers any one of its own unfathomable horizons.
It cannot be regarded as a very adequate picture when both the centre of it and the circ.u.mference of it baffle thought. The materialist or "objectivist" may be satisfied with such a result, but it is a result which does not answer the question of philosophy, but rather denies that any answer is possible. But though this obvious objective spectacle of the universe, with our bodily self as a part of it, cannot satisfy the demands of the complex vision, it is at least certain that no philosophy which does not include this and accept this and continually return to this, can satisfy these demands.
The complex vision requires the reality of this objective spectacle but it also requires recognition of certain basic a.s.sumptions, implicit in this spectacle, which the materialist refuses to consider.
And the most comprehensive of these a.s.sumptions is nothing less than the complex vision itself, with that "something," which is the soul, as its inscrutable base. Thus I am permitted to retain, in spite of its arbitrary fantasy, my pictorial image of a pyramidal arrow of fire, moving from darkness to darkness. My picture were false to my conception if it did not depict the whole pyramid, with the soul itself as its base, moving, in its complete totality, from mystery to mystery.
It may move upwards, downwards, or, as I myself seem to see it, horizontally. But as long as it keeps its apex-point directed to the mystery in front of it, it matters little how we conceive of it as moving. That it should _move_, in some way or another, is the gist of my demand upon it; for, if it does not move, nothing moves; and life itself is swallowed up in nothingness.
This swallowing up of life in nothingness, this obliteration of life by nothingness is what the emotion of malice ultimately desires. The eternal conflict between love and malice is the eternal contest between life and death. And this contest is what the complex vision reveals, as it moves from darkness to darkness.
CHAPTER II.
THE ASPECTS OF THE COMPLEX VISION
The aspects of the complex vision may be separated from one another according to many systems of cla.s.sifications. As long as, in the brief summary which follows, I include the more obvious and more important of these aspects, I shall be doing all that the philosophy of the complex vision demands.