Part 6

We seem to have here the highest example of a principle which is operative through the whole of the seething complex of life, for there is a sense on which every great personality fulfils the function of an atoner. On the one hand he does something towards the making good of humanity’s “falling short” in one direction or another; on the other hand, he gives to his fellow-men—adds to their universe—something which they did not possess before. Burke, speaking of the social contract, has said that society is a partnership in all science, all art, every virtue, and all perfection; and, since the ends of such a partnership cannot be obtained but in many generations, it is a partnership between the living, the dead, and the unborn. “Each contract of each particular state,” he says, “is but a clause in the great primæval contract of eternal society, _linking the lower with the higher natures_, connecting the visible and the invisible world, according to a fixed compact sanctioned by the inviolable oath which holds all physical and all moral natures each in their appointed place.” In such a partnership—linking higher and lower, visible and invisible worlds in one—the creative spirits in every department of life may properly be called “atoners,” for they have a corporate and racial value which is in exact proportion to their individual achievement of reality. Thus the great artist, or the great musician, really redeems his fellows from slavery to a lower level of colour, form, sound. He atones for their dullness towards that which has always been there, and endows them with new possibilities of vision and hearing; gives them, in fact, more abundant life; is the Door, the Way, to a wider universe. His creative acts open new gates to the whole race. The fact that he has lived and worked has effected a permanent change in the stream of life, which can never again be that which it was before. If we were more accustomed, on the one hand, to look at the achievements of religious genius from the artistic and creative point of view, and on the other hand, to discern the work of the Holy Spirit in the artistic as well as the religious field, I believe that we should find a close parallel between the work of supreme personality redeeming spirit, and the work of the great artist redeeming sense, from servitude to old imperfections and disharmonies.

We might almost make it the test of true greatness, this wonderful power of flinging out the filaments of life in all directions; this way in which noble and creative personalities of every type seem to be so much more than themselves—to count for so much more than themselves—to be, in their generous activities, the servants of all life. They appear to be the sum of tendencies which preceded them; and to gather those tendencies to a focus and distribute them again, enhanced and re-directed, to succeeding generations of souls. Such a personality has to the full the divine power of giving and of taking. Whilst he seems specially original, it is always true that the past, the race, nourishes him to an enormous extent. Christ Himself conformed to this law. The great man is rooted in history, plaited up in the life of his own time: absorbs from the human as well as from the spiritual. His feet are in Time, though his head is in Eternity. He is never isolated and ring-fenced. Where he seems so, that appearance is found on examination to be deceptive, as Dr. Rufus Jones has shown in the case of Jacob Boehme, and Baron von Hügel in that of George Fox. So, again, the special act, vision, or experience of the spiritual genius never ends with him. He is a centre of divine fecundity—it is the mystics’ own phrase. The touch of the divine life stimulates him to creation. He is a regenerator, a whirlpool of new forces, a parent of new things. It seems that life’s “tendency to lag behind,” its tendency _not_ to do its best, receives its corrective in all such great spirits; and the Christian atonement becomes the supreme, the divine manifestation of a vital law which we find operative on every level of existence.

If we acknowledge the extent to which Grace, Spirit, God, works on man through personality, through specific men—as a communication of transcendent vitality to certain souls (“elect,” if you like) in order that they may bring forth new life, new vision, new goodness, may fertilize the race afresh—then shall we not expect to find that Christianity, being a vital, dynamic system, has exhibited and emphasized these facts throughout the whole of her great career? This outward thrust of great personalities from the social organism, these fresh unique saving contacts made by the individual in the name of the All, these sudden, incalculable, upward leaps of life, these changes in the national consciousness which the hero, poet, prophet can produce—we shall expect to find all this operative in the highest degree in the Christian Church. We shall expect to find her claiming for her greatest and most God-achieving spirits, not only special honour, but a special value, a special redeeming power in respect of the corporate body to which they belong; and this, of course, is exactly what we do find. The mystical saints, in fact, seem to provide us with a link between the doctrine of the Atonement—of the special racial value of the utterly surrendered life in God, which was once, and once only, perfectly achieved—and the doctrine of the Communion of Saints, or interpenetration and mutual help of all souls “in Christ.” From these two ideas there follows of necessity that further doctrine of the “prevailing merits” of the saints, their special “atoning” value for other men, the corporate social work done by heroic virtue flowering in individual souls, which the Catholic Church has always deduced from them. At the back of both ideas we find the same fact; that Life and Love, when supremely evoked within the temporal order, cannot keep themselves to themselves. Such life and such love have, in spite of their marked individuality, a profoundly social character; they are violently contagious; they spread, they interpenetrate, they transmute all selves that will receive them. They entincture the whole stream of duration, make good its shortcomings, make widening circles of splendour within the flux.

So, if we want to think of a Celestial Hierarchy, actual to us, founded in history, related with us by a thousand links, it is surely of the saints and the mystics that we ought to think; rising as it were in graduated orders, according to the strength and purity of their union with God, the fullness of their possession of Eternal Life, towards the Cross in which their tendencies are perfected and gathered up. These are amongst the highest values which life has given to us. The apostolic type; the men of action, dynamic manifestations of the Spirit. The prophetic type; men of supreme vision, enlarging the horizons of the world. The martyr-type; men of utter sacrifice and complete interior surrender. These are the three ways in which the mystical passion for God breaks out through humanity. These three types make good—atone for—our corporate spiritual shortcomings; redeem the dead level of that race which has thrust them forth towards the Infinite.

Perhaps it seems to us that their difference from us is too great; that they are cut off, divided by a chasm from the common experience of man to form an exclusive, “other-worldly” type. Their life rises up like a great mountain, full of beauty and strangeness; and ours is like the homely plain. But there is no break between the plain and the mountain. It is pushed out from us, it is part of us; its value is bound up with the value of the whole—with our value, as struggling, growing men. It, every inch of it, atones for our flatness and enhances the average level of the race. We have all seen in Catholic countries how a sudden hill with a Calvary on its summit can glorify and atone for the whole landscape—so poor without it, so noble with it—from which it is lifted up. Now the Cross is, and remains, the central feature in the Christian landscape too: but is it not the long slope of that hill, going from the common level to the heights, which makes it so homely to us, so accessible to us, so supremely a part of us, and completes its task of linking humanity and divinity?

These are some of the reasons why the doctrine of Atonement seems to be closely bound up with the mystical vision of life, and hard to understand—whether we mean by it a spiritual principle or a historic event—without that mystical vision. We have Christianity saying to us, on the one hand, that the utmost ideal of humanity, the ideal of perfect self-donation to the purposes of Spirit, perfect self-surrender to the interests of the All, was completely and transcendently achieved in Jesus. In Him man leapt to the heights; and this unique attainment counts for the whole race. But, on the other hand, it says that all who can are called to go as far as they are able on the same road; to “fill up the measure of the sufferings,” to “grow to the full stature,” to “press on to the high calling” of the human soul. Through these more vital personalities—the mystics, the twice-born, the saints—the radiance of the spiritual streams out on the race; God speaks to man through man. Such personalities act as receivers and transmitters; they really and practically distribute the flashes of the Uncreated Light. Their activities are vicarious; they do atone for the disabilities of other men. Therefore the social value of the mystics, their place in the organism, is intimately connected with the atoning idea. Were it not for the principle which the doctrine of Atonement expresses, the mystics would be spiritual individualists, whose life and experience would be meaningless except for themselves. And were it not for the continuance of the mystical life, the perpetual renewal of the mystical self-donation in love, its known value for the race, then the historic Atonement of Jesus would be an isolated act, unrelated to the great processes of the Spiritual World, of which it should form the crown.

THE MYSTIC AS CREATIVE ARTIST

Hostile criticism of the mystics almost invariably includes the charge that their great experiences are in the nature of merely personal satisfactions. It is said that they stand apart from the ruck of humanity, claiming a special knowledge of the supersensual, a special privilege of communion with it; yet do not pass on to others, in any real and genuine sense, the illumination, the intuition of Reality, which they declare that they have received. St. Bernard’s favourite mistranslation from Isaiah, “My secret to myself,” has again and again been used against them with damaging effect; linked sometimes with the notorious phrase in which Plotinus defined the soul’s fruition of Eternity as “a flight of the alone to the Alone.”

It is true that these hints concerning a solitary and ineffable encounter do tally with one side of the experience of the mystic; do describe one aspect of his richly various, many-angled spiritual universe, one way in which that divine union which is his high objective is apprehended by the surface-consciousness. But that which is here told, is only half the truth. There is another side, a “completing opposite,” to this admittedly indescribable union of hearts; a side which is often—and most ungraciously—forgotten by those who have received its benefits. The great mystic’s loneliness is a consecrated loneliness. When he ascends to that encounter with Divine Reality which is his peculiar privilege, he is not a spiritual individualist. He goes as the ambassador of the race. His spirit is not, so to speak, a “spark flying upwards” from this world into that world, flung out from the mass of humanity, cut off; a little, separate, brilliant thing. It is more like a feeler, a tentacle, which life as a whole stretches out into that supersensual world which envelops her. Life stretches that tentacle out, but she also draws it in again with the food that it has gathered, the news that it has to tell of the regions which its delicate tactile sense has enabled it to explore. This, it seems to me, is the function of the mystic consciousness in respect of the human race. For this purpose it is specialized. It receives, in order that it may give. As the prophet looks at the landscape of Eternity, the mystic finds and feels it: and both know that there is laid on them the obligation of exhibiting it if they can.

If this be so, then it becomes clear that the mystic’s personal encounter with Infinite Reality represents only one of the two movements which constitute his completed life. He must turn back to pass on the revelation he has received: must mediate between the transcendent and his fellow-men. He is, in fact, called to be a creative artist of the highest kind; and only when he is such an artist, does he fulfil his duty to the race.

It is coming to be realized more and more clearly that it is the business of the artist not only to delight us, but to enlighten us: in Blake’s words, to “Cleanse the doors of perception, so that everything may appear as it is—infinite.” Artists mediate between the truth and beauty which they know, and those who cannot without their help discern it. It is the function of art, says Hegel, to deliver to the domain of feeling and delight of vision all that the mind may possess of essential and transcendent Being. In this respect it ranks with religion and philosophy as “one of the three spheres of Absolute Spirit.” Bergson, again, declares that it is the peculiar business of art to brush aside everything that veils reality from us, in order to bring us face to face with the real, the true. The artist is the man who sees things in their native purity.

“Could reality,” he observes in a celebrated passage, “come into direct contact with sense and consciousness, could we enter into immediate communion with things and with ourselves—then, we should all be artists.... Deep in our souls we should hear the uninterrupted melody of our inner life: a music often gay, more often sad, always original. All this is around and within us: yet none of it is distinctly perceived by us. Between nature and ourselves—more, between ourselves and our own consciousness—hangs a veil: a veil dense and opaque for normal men, but thin, almost transparent, for the artist and poet.” He might have added, for the mystic too.

This veil, he says again, is woven of self-interest: we perceive things, not as they are, but as they affect ourselves. The artist, on the contrary, sees them for their own sakes, with the eyes of disinterested love. So, when the mystics declare to us that the first conditions of spiritual illumination are self-simplification, humility and detachment, they are demanding just those qualities which control the artist’s power of seeing things in their beauty and truth. The true mystic sees Reality in its infinite aspect; and tries, as other artists, to reveal it within the finite world. He not only ascends, but descends the ladder of contemplation; having heard “the uninterrupted music of the inner life,” he tries to weave it into melodies that other men can understand.

Bergson’s contemporary, Eucken, claims—and I think it is one of his most striking doctrines—that man is gradually but actually bringing into existence a spiritual world. This spiritual world springs up from within through humanity—that is, through man’s own consciousness—yet at the same time humanity is, as it were, growing up into it; finding it as an independent reality, waiting to be apprehended, waiting to be incorporated into our universe. In respect of man’s normal universe, this spiritual world is both immanent and transcendent: “Absent only from those unable to perceive it,” as Plotinus said of the _Nous_. We are reminded of the Voice which said to St. Augustine, “I am the Food of the Full-grown.”

This paradox of a wholly new order of experience thrusting itself up through the race which it yet transcends, is a permanent feature in the teachings of the higher religions and philosophies, and is closely connected with the phenomena of inspiration and of artistic creation. The artist, the prophet, the metaphysician, each builds up from material beyond the grasp of other souls, a world within which those other souls can live and dream: a world, moreover, which exhibits in new proportions and endows with new meanings the common world of daily life. When we ask what organ of the race—the whole body of humanity—it is, by and through which this supernal world thus receives expression, it becomes clear that this organ is the corporate spiritual consciousness, emerging in those whom we call, pre-eminently, mystics and seers. It is, actually and literally, through them that this new world is emerging and being built up; as it is through other forms of enhanced and clarified consciousness, in painters, musicians, philosophers, and the adepts of physical science, that other aspects of the universe are made known to men. In all of these, and in the mystic too, the twin powers of a steadfast, selective attention and of creative imagination are at work. Because of their wide, deep, attention to life they receive more news from the external world than others do; because of the creative cast of their minds, they are able to weave up the crude received material into a living whole, into an idea or image which can be communicated to other men. Ultimately, we owe to the mystics all the symbols, ideas and images of which our spiritual world, as it is thought of by the bulk of men, is constructed. We take its topography from them, at second-hand: and often forget the sublime adventures immortalized in those phrases which we take so lightly on our lips—the Divine Dark, the Beatific Vision, the Eternal Beauty, Ecstasy, Union, Spiritual Marriage, and the rest. The mystics have actually created, from that language which we have evolved to describe and deal with the time-world, another artistic world; a self-consistent and spiritually expressive world of imaginative concepts, like the world of music or the world of colour and form. They are always trying to give us the key to it, to induct us into its mysterious delights. It is by means of this world, and the symbols which furnish it, that human consciousness is enabled to actualize its most elusive experiences; and hence it is wholly due to the unselfish labours of those mystics who have struggled to body forth the realities by which they were possessed, that we are able, to some extent, to enter into the special experiences of the mystical saints; and that they are able to snatch us up to a brief sharing of their vision, to make us live for a moment “Eternal Life in the midst of Time.”

How, then, have they done this? What is the general method by which any man communicates the result of his personal contacts with the universe to other minds? Roughly speaking, he has two ways of doing this, by description and by suggestion; and his best successes are those in which these two methods are combined. His descriptions are addressed to the intellect, his suggestions are appeals to the imagination, of those with whom he is trying to communicate. The necessities which control these two ways of telling the news—oblique suggestion and symbolic image—practically govern the whole of mystical literature. The span of this literature is wide. It goes from the utterly formless, yet infinitely suggestive, language of certain great contemplatives, to the crisply formal pictorial descriptions of those whose own revelations of Reality crystallize into visions, voices, or other psycho-sensorial experiences. At one end of the scale is the vivid, prismatic imagery of the Christian apocalypse, at the other the fluid, ecstatic poetry of some of the Sūfi saints.

In his suggestive and allusive language the mystical artist often approaches the methods of music. When he does this, his statements do not give information. They operate a kind of enchantment which dilates the consciousness of the hearer to a point at which it is able to apprehend new aspects of the world. In his descriptive passages, on the other hand, he generally proceeds, as do nearly all our descriptive efforts, by way of comparison. Yet often these comparisons, like those employed by the great poet, are more valuable for their strange suggestive quality than for any exact parallels which they set up between the mystic’s universe and our own. Thus, when Clement of Alexandria compares the Logos to a “New Song,” when Suso calls the Eternal Wisdom a “sweet and beautiful wild flower,” when Dionysius the Areopagite speaks of the Divine Dark which _is_ the Inaccessible Light, or Ruysbroeck of “the unwalled world,” we recognize a sudden flash of the creative imagination; evoking for us a truth far greater, deeper and more fruitful than the merely external parallel which it suggests. So too with many common metaphors of the mystics: the Fire of Love, the Game of Love, the Desert of God, the Marriage of the Soul. Such phrases succeed because of their interior and imaginative appeal.

We have numerous examples of this kind of artistic language—the highly charged imaginative phrase—in the Bible; especially in the prophetic books, and the Apocalypse.

Ho, every one that thirsteth, come ye to the waters. I will give thee treasures of darkness and hidden riches of secret places. The Lord shall be a diadem of beauty. He showed me a pure river of the water of life. I heard a voice from heaven, as the voice of many waters. I saw a new heaven and a new earth.

Whereas the original prophetic significance of these phrases is now meaningless for us, their suggestive quality—their appeal to the mystic consciousness—retains its full force. They are artistic creations; and have the enormous evocative power proper to all great art. Later mystics use such passages again and again, reading their own experiences into these traditional forms. The classic example of this close alliance between poetic readings of life and practical mysticism is of course the mystical interpretation of the _Song of Songs_, which appears in Christian mysticism at least as early as the fourth century. But there are many other instances. Thus St. Macarius finds in Ezekiel’s vision of the Cherubim a profoundly suggestive image of the state of the deified soul, “all eyes and all wings,” driven upon its course by the Heavenly Charioteer of the Spirit. Thus in _The Mirror of Simple Souls_, another of Ezekiel’s visions—that of the “great eagle, with great wings, long wings, full of feathers, which took the highest branch of the cedar”—becomes the vivid symbol of the contemplative mind, “the eagle that flies high, so right high and yet more high than does any other bird, for she is feathered with fine love, and beholds above other the beauty of the sun.”

When we pass to the mystical poets, we find that nearly all their best effects are due to their extraordinary genius for this kind of indirect, suggestive imagery. This is the method by which they proceed when they wish to communicate their vision of reality. Their works are full of magical phrases which baffle analysis, yet, as one of them has said:

“Lighten the wave-washed caverns of the mind With a pale, starry grace.”

Many of these phrases are of course familiar to every one. Vaughan’s