one question before all others that has to be answered by our civilisations is not what they have and in what quantity, but what they express and how. In a society, the production and circulation of materials, the amassing and spending of money, may go on, as in the interminable prolonging of a straight line, if its people forget to follow some spiritual design of life which curbs them and transforms them into an organic whole. For growth is not that enlargement which is merely adding to the dimensions of incompleteness. Growth is the movement of a whole towards a yet fuller wholeness. Living things start with this wholeness from the beginning of their career. A child has its own perfection as a child; it would be ugly if it appeared as an unfinished man. Life is a continual process of synthesis, and not of additions. Our activities of production and enjoyment of wealth attain that spirit of wholeness when they are blended with a creative ideal. Otherwise they have the insane aspect of the eternally unfinished; they become like locomotive engines which have railway lines but no stations; which rush on towards a collision of uncontrolled forces or to a sudden breakdown of the overstrained machinery.
Through creation man expresses his truth; through that expression he gains back his truth in its fulness. Human society is for the best expression of man, and that expression, according to its perfection, leads him to the full realisation of the divine in humanity. When that expression is obscure, then his faith in the Infinite that is within him becomes weak; then his aspiration cannot go beyond the idea of success. His faith in the Infinite is creative; his desire for success is constructive; one is his home, and the other is his office. With the overwhelming growth of necessity, civilisation becomes a gigantic office to which the home is a mere appendix. The predominance of the pursuit of success gives to society the character of what we call Shudra in India. In fighting a battle, the Kshatriya, the noble knight, followed his honour for his ideal, which was greater than victory itself; but the mercenary Shudra has success for his object. The name Shudra symbolises a man who has no margin round him beyond his bare utility. The word denotes a classification which includes all naked machines that have lost their completeness of humanity, be their work manual or intellectual. They are like walking stomachs or brains, and we feel, in pity, urged to call on God and cry, "Cover them up for mercy's sake with some veil of beauty and life!"
When Shelley in his view of the world realised the Spirit of Beauty, which is the vision of the Infinite, he thus uttered his faith:
Never joy illumed my brow
Unlinked with hope that thou wouldst free
This world from its dark slavery;
That thou,—O awful Loveliness,—
Wouldst give whate'er these words cannot express.
This was his faith in the Infinite. It led his aspiration towards the region of freedom and perfection which was beyond the immediate and above the successful. This faith in God, this faith in the reality of the ideal of perfection, has built up all that is great in the human world. To keep indefinitely walking on, along a zigzag course of change, is negative and barren. A mere procession of notes does not make music; it is only when we have in the heart of the march of sounds some musical idea that it creates song. Our faith in the infinite reality of Perfection is that musical idea, and there is that one great creative force in our civilisation. When it wakens not, then our faith in money, in material power, takes its place; it fights and destroys, and in a brilliant fireworks of star-mimicry suddenly exhausts itself and dies in ashes and smoke.
VI
Men of great faith have always called us to wake up to great expectations, and the prudent have always laughed at them and said that these did not belong to reality. But the poet in man knows that reality is a creation, and human reality has to be called forth from its obscure depth by man's faith which is creative. There was a day when the human reality was the brutal reality. That was the only capital we had with which to begin our career. But age after age there has come to us the call of faith, which said against all the evidence of fact: "You are more than you appear to be, more than your circumstances seem to warrant. You are to attain the impossible, you are immortal." The unbelievers had laughed and tried to kill the faith. But faith grew stronger with the strength of martyrdom and at her bidding higher realities have been created over the strata of the lower. Has not a new age come to-day, borne by thunder-clouds, ushered in by a universal agony of suffering? Are we not waiting to-day for a great call of faith, which will say to us: "Come out of your present limitations. You are to attain the impossible, you are immortal"? The nations who are not prepared to accept it, who have all their trust in their present machines of system, and have no thought or space to spare to welcome the sudden guest who comes as the messenger of emancipation, are bound to court defeat whatever may be their present wealth and power.
This great world, where it is a creation, an expression of the infinite—where its morning sings of joy to the newly awakened life, and its evening stars sing to the traveller, weary and worn, of the triumph of life in a new birth across death,—has its call for us. The call has ever roused the creator in man, and urged him to reveal the truth, to reveal the Infinite in himself. It is ever claiming from us, in our own creations, co-operation with God, reminding us of our divine nature, which finds itself in freedom of spirit. Our society exists to remind us, through its various voices, that the ultimate truth in man is not in his intellect or his possessions; it is in his illumination of mind, in his extension of sympathy across all barriers of caste and colour; in his recognition of the world, not merely as a storehouse of power, but as a habitation of man's spirit, with its eternal music of beauty and its inner light of the divine presence.
THE CREATIVE IDEAL
In an old Sanskrit book there is a verse which describes the essential elements of a picture. The first in order is Vrúpa-bhédáh—"separateness of forms." Forms are many, forms are different, each of them having its limits. But if this were absolute, if all forms remained obstinately separate, then there would be a fearful loneliness of multitude. But the varied forms, in their very separateness, must carry something which indicates the paradox of their ultimate unity, otherwise there would be no creation.
So in the same verse, after the enumeration of separateness comes that of Pramānāni—proportions. Proportions indicate relationship, the principle of mutual accommodation. A leg dismembered from the body has the fullest licence to make a caricature of itself. But, as a member of the body, it has its responsibility to the living unity which rules the body; it must behave properly, it must keep its proportion. If, by some monstrous chance of physiological profiteering, it could outgrow by yards its fellow-stalker, then we know what a picture it would offer to the spectator and what embarrassment to the body itself. Any attempt to overcome the law of proportion altogether and to assert absolute separateness is rebellion; it means either running the gauntlet of the rest, or remaining segregated.
The same Sanskrit word Pramānāni, which in a book of æsthetics means proportions, in a book of logic means the proofs by which the truth of a proposition is ascertained. All proofs of truth are credentials of relationship. Individual facts have to produce such passports to show that they are not expatriated, that they are not a break in the unity of the whole. The logical relationship present in an intellectual proposition, and the æsthetic relationship indicated in the proportions of a work of art, both agree in one thing. They affirm that truth consists, not in facts, but in harmony of facts. Of this fundamental note of reality it is that the poet has said, "Beauty is truth, truth beauty."
Proportions, which prove relativity, form the outward language of creative ideals. A crowd
