Monday, March 10, 2014

Quotable Mystics and Contemplatives: Introduction (Evelyn Underhill)



[link to the main book page]


[edited, shortened version of Part One, Section IV: “The Characteristics of Mysticism”: from Mysticism
(New York: E. P. Dutton & Co., 3rd revised edition, 1911), by the Anglo-Catholic, Evelyn Underhill (1875-1941)]


No deeply religious man is without a touch of mysticism; and no mystic can be other than religious, in the psychological if not in the theological sense of the word. In mysticism the will is united with the emotions in an impassioned desire to transcend the sense-world, in order that the self may be joined by love to the one eternal and ultimate Object of love; whose existence is intuitively perceived by that which we used to call the soul, but now find it easier to refer to as the “cosmic” or “transcendental” sense. This is the poetic and religious temperament acting upon the plane of reality.

Mysticism is non-individualistic. It implies, indeed, the abolition of individuality; of that hard separateness, that “I, Me, Mine” which makes of man a finite isolated thing. It is essentially a movement of the heart, seeking to transcend the limitations of the individual standpoint and to surrender itself to ultimate Reality; for no personal gain, to satisfy no transcendental curiosity, to obtain no other-worldly joys, but purely from an instinct of love.

By the word heart, of course we here mean not merely “the seat of the affections,” “the organ of tender emotion,” and the like: but rather the inmost sanctuary of personal being, the deep root of its love and will, the very source of its energy and life. The mystic is “in love with the Absolute” not in any idle or sentimental manner, but in that vital sense which presses at all costs and through all dangers towards union with the object beloved. Hence, whilst the practice of magic—like the practice of science—does not necessarily entail passionate emotion, though of course it does and must entail interest of some kind, mysticism, like art, cannot exist without it. We must feel, and feel acutely, before we want to act on this hard and heroic scale.

What then do we really mean by mysticism? A word which is impartially applied to the performances of mediums and the ecstasies of the saints, to “menticulture” and sorcery, dreamy poetry and mediaeval art, to prayer and palmistry, the doctrinal excesses of Gnosticism, and the tepid speculations of the Cambridge Platonists soon ceases to have any useful meaning. Its employment merely confuses the inexperienced student, who ends with a vague idea that every kind of supersensual theory and practice is somehow “mystical.”

Hence the need of fixing, if possible, its true characteristics: and restating the fact that Mysticism, in its pure form, is the science of ultimates, the science of union with the Absolute, and nothing else, and that the mystic is the person who attains to this union, not the person who talks about it. Not to know about but to Be, is the mark of the real initiate.
 
The difficulty lies in determining the point at which supersensual experience ceases to be merely a practical and interesting extension of sensual experience—an enlarging, so to speak, of the boundaries of existence—and passes over into that boundless life where Subject and Object, desirous and desired, are one. No sharp line, but rather an infinite series of gradations separate the two states. Hence we must look carefully at all the pilgrims on the road; discover, if we can, the motive of their travels, the maps which they use, the luggage which they take, the end which they attain.

Now we have said that the end which the mystic sets before him is conscious union with a living Absolute. That Divine Dark, that Abyss of the Godhead, of which he sometimes speaks as the goal of his quest, is just this Absolute, the Uncreated Light in which the Universe is bathed, and 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.” 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.
 
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 marvelous 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. That “life-enhancing power” which has been recognized as the supreme quality of good painting, 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.

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.

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.

Were he a musician, it is probable that the mystic could give his message to other musicians in the terms of that art, far more accurately than language will allow him to do: for we must remember that there is no excuse but that of convenience for the pre-eminence amongst modes of expression which we accord to words. These correspond so well to the physical plane and its adventures, that we forget that they have but the faintest of relations with transcendental things. Even the artist, before he can make use of them, is bound to re-arrange them in accordance with the laws of rhythm: obeying unconsciously the rule by which all arts “tend to approach the condition of music.”

So too the mystic. Mysticism, the most romantic of adventures, from one point of view the art of arts, their source and also their end, finds naturally enough its closest correspondences in the most purely artistic and most deeply significant of all forms of expression. The mystery of music is seldom realized by those who so easily accept its gifts. Yet of all the arts music alone shares with great mystical literature the power of waking in us a response to the life-movement of the universe: brings us—we know not how—news of its exultant passions and its incomparable peace. Beethoven heard the very voice of Reality, and little of it escaped when he translated it for our ears.

The mediaeval mind, more naturally mystical than ours, and therefore more sharply aware of the part which rhythmic harmony plays in the worlds of nature and of grace, gave to music a cosmic importance, discerning its operation in many phenomena which we now attribute to that dismal figment, Law. The life of the visible and invisible universe consists in a supernal fugue.

The mind must employ some device of the kind if its transcendental perceptions—wholly unrelated as they are to the phenomena with which intellect is able to deal—are ever to be grasped by the surface consciousness. Sometimes the symbol and the perception which it represents become fused in that consciousness; and the mystic’s experience then presents itself to him as “visions” or “voices” which we must look upon as the garment he has himself provided to veil that Reality upon which no man may look and live. The nature of this garment will be largely conditioned by his temperament—as in St. Catherine of Genoa’s leaning towards the abstract conceptions of fire and light—and also by his theological education and environment. Cases in point are the highly dogmatic visions and auditions of Suso, St. Catherine of Siena; above all of St. Teresa, whose marvelous self-analyses provide the classic account of these attempts of the mind to translate transcendental intuitions into concepts with which it can deal.

The greatest mystics, however—Ruysbroeck, St. John of the Cross, and St. Teresa herself in her later stages—distinguish clearly between the ineffable Reality which they perceive and the image under which they describe it. Again and again they tell us with Dionysius, that the Object of their contemplation “hath no image”: or with St. John of the Cross that “the soul can never attain to the height of the divine union, so far as it is possible in this life, through the medium of any forms or figures.” Therefore the attempt which has sometimes been made to identify mysticism with such forms and figures—with visions, voices, “supernatural favours” and other abnormal phenomena—is clearly wrong.

“The highest and most divine things which it is given us to see and to know,” says Dionysius the Areopagite plainly, “are but the symbolic language of things subordinate to Him who Himself transcendeth them all: through which things His incomprehensible Presence is shown, walking on those heights of His Holy Places which are perceived by the mind.

The mystic, as a rule, cannot wholly do without symbol and image, inadequate to his vision though they must always be: for his experience must be expressed if it is to be communicated, and its actuality is inexpressible except in some side-long way, some hint or parallel which will stimulate the dormant intuition of the reader, and convey, as all poetic language does, something beyond its surface sense. Hence the large part which is played in all mystical writings by symbolism and imagery; and also by that rhythmic and exalted language which induces in sensitive persons something of the languid ecstasy of dream. The close connection between rhythm and heightened states of consciousness is as yet little understood. Its further investigation will probably throw much light on ontological as well as psychological problems. 

Mystical, no less than musical and poetic perception, tends naturally—we know not why—to present itself in rhythmical periods: a feature which is also strongly marked in writings obtained in the automatic state. So constant is this law in some subjects that Baron von Hügel adopted the presence or absence of rhythm as a test whereby to distinguish the genuine utterances of St. Catherine of Genoa from those wrongly attributed to her by successive editors of her legend.

All kinds of symbolic language come naturally to the articulate mystic, who is often a literary artist as well: so naturally, that he sometimes forgets to explain that his utterance is but symbolic—a desperate attempt to translate the truth of that world into the beauty of this. It is here that mysticism joins hands with music and poetry: had this fact always been recognized by its critics, they would have been saved from many regrettable and some ludicrous misconceptions. Symbol—the clothing which the spiritual borrows from the material plane—is a form of artistic expression. That is to say, it is not literal but suggestive: though the artist who uses it may sometimes lose sight of this distinction. Hence the persons who imagine that the “Spiritual Marriage” of St. Catherine or St. Teresa veils a perverted sexuality, that the vision of the Sacred Heart involved an incredible anatomical experience, do but advertise their ignorance of the mechanism of the arts: like the lady who thought that Blake must be mad because he said that he had touched the sky with his finger.

Further, the study of the mystics, the keeping company however humbly with their minds, brings with it as music or poetry does—but in a far greater degree—a strange exhilaration, as if we were brought near to some mighty source of Being, were at last on the verge of the secret which all seek. The symbols displayed, the actual words employed, when we analyse them, are not enough to account for such effect. It is rather that these messages from the waking transcendental self of another, stir our own deeper selves in their sleep. It were hardly an extravagance to say, that those writings which are the outcome of true and first-hand mystical experience may be known by this power of imparting to the reader the sense of exalted and extended life.

Now, returning to our original undertaking, that of defining if we can the characteristics of true mysticism, I propose to set out, illustrate and, I hope, justify four rules or notes which may be applied as tests to any given case which claims to take rank amongst the mystics.

1. True mysticism is active and practical, not passive and theoretical. It is an organic life-process, a something which the whole self does; not something as to which its intellect holds an opinion.

2. Its aims are wholly transcendental and spiritual. It is in no way concerned with adding to, exploring, re-arranging, or improving anything in the visible universe. The mystic brushes aside that universe, even in its supernormal manifestations. Though he does not, as his enemies declare, neglect his duty to the many, his heart is always set upon the changeless One.

3. This One is for the mystic, not merely the Reality of all that is, but also a living and personal Object of Love; never an object of exploration. It draws his whole being homeward, but always under the guidance of the heart.

4. Living union with this One—which is the term of his adventure—is a definite state or form of enhanced life. It is obtained neither from an intellectual realization of its delights, nor from the most acute emotional longings. Though these must be present they are not enough. It is arrived at by an arduous psychological and spiritual process—the so-called Mystic Way—entailing the complete remaking of character and the liberation of a new, or rather latent, form of consciousness; which imposes on the self the condition which is sometimes inaccurately called “ecstasy,” but is better named the Unitive State.

Mysticism, then, is not an opinion: it is not a philosophy. It has nothing in common with the pursuit of occult knowledge. On the one hand it is not merely the power of contemplating Eternity: on the other, it is not to be identified with any kind of religious queerness. It is the name of that organic process which involves the perfect consummation of the Love of God: the achievement here and now of the immortal heritage of man. Or, if you like it better—for this means exactly the same thing—it is the art of establishing his conscious relation with the Absolute. 

The movement of the mystic consciousness towards this consummation, is not merely the sudden admission to an overwhelming vision of Truth: though such dazzling glimpses may from time to time be vouchsafed to the soul. It is rather an ordered movement towards ever higher levels of reality, ever closer identification with the Infinite.

Now, how do these statements square with the practice of the great mystics; and with the various forms of activity which have been classified at one time or another as mystical?

(1) Mysticism is practical, not theoretical.

This statement, taken alone, is not, of course, enough to identify mysticism; since it is equally true of magic, which also proposes to itself something to be done rather than something to be believed. It at once comes into collision, however, with the opinions of those who believe mysticism to be “the reaction of the born Platonist upon religion.”

The difference between such devout philosophers and the true mystic, is the difference which George Tyrrell held to distinguish revelation from theology. Mysticism, like revelation, is final and personal. It is not merely a beautiful and suggestive diagram but experience in its most intense form. That experience, in the words of Plotinus, is the soul’s solitary adventure: “the flight of the Alone to the Alone.” It provides the material, the substance, upon which mystical philosophy cogitates; as theologians cogitate upon the revelation which forms the basis of faith. Hence those whom we are to accept as mystics must have received, and acted upon, intuitions of a Truth which is for them absolute. If we are to acknowledge that they “knew the doctrine” they must have “lived the life”; submitted to the interior travail of the Mystic Way, not merely have reasoned about the mystical experiences of others.

We could not well dispense with our Christian Platonists and mystical philosophers. They are our stepping-stones to higher things; interpret to our dull minds, entangled in the sense-world, the ardent vision of those who speak to us from the dimension of Reality. But they are no more mystics than the milestones on the Dover Road are travelers to Calais. Sometimes their words—the wistful words of those who know but cannot be—produce mystics; as the sudden sight of a signpost pointing to the sea will rouse the spirit of adventure in a boy.

Over and over again the great mystics tell us, not how they speculated, but how they acted. To them, the transition from the life of sense to the life of spirit is a formidable undertaking, which demands effort and constancy. The paradoxical “quiet” of the contemplative is but the outward stillness essential to inward work. Their favourite symbols are those of action: battle, search, and pilgrimage.

“Let no one suppose,” says the “Theologia Germanica,” “that we may attain to this true light and perfect knowledge . . . by hearsay, or by reading and study, nor yet by high skill and great learning.”

Those who suppose mystical experience to be merely a pleasing consciousness of the Divine in the world, a sense of the “otherness” of things, a basking in the beams of the Uncreated Light, are only playing with Reality. True mystical achievement is the most complete and most difficult expression of life which is as yet possible to man. It is at once an act of love, an act of surrender, and an act of supreme perception; a trinity of experiences which meets and satisfies the three activities of the self. Religion might give us the first and metaphysics the third of these processes. Only Mysticism can offer the middle term of the series; the essential link which binds the three in one. “Secrets,” says St. Catherine of Siena, “are revealed to a friend who has become one thing with his friend and not to a servant.”

(2) Mysticism is an entirely Spiritual Activity.

This rule provides us with a further limitation, which of course excludes all the practisers of magic and of magical religion: even in their most exalted and least materialistic forms. As we shall see when we come to consider these persons, their object—not necessarily an illegitimate one—is to improve and elucidate the visible by help of the invisible: to use the supernormal powers of the self for the increase of power, virtue, happiness or knowledge. The mystic never turns back on himself in this way, or tries to combine the advantages of two worlds. At the term of his development he knows God by communion, and this direct intuition of the Absolute kills all lesser cravings.

He possesses God, and needs nothing more. Though he will spend himself unceasingly for other men, become “an agent of the Eternal Goodness,” he is destitute of supersensual ambitions and craves no occult knowledge or power. Having his eyes set on eternity, his consciousness steeped in it, he can well afford to tolerate the entanglements of time. “His spirit,” says Tauler, “is as it were sunk and lost in the Abyss of the Deity, and loses the consciousness of all creature-distinctions. All things are gathered together in one with the divine sweetness, and the man’s being is so penetrated with the divine substance that he loses himself therein, as a drop of water is lost in a cask of strong wine. And thus the man’s spirit is so sunk in God in divine union, that he loses all sense of distinction . . . and there remains a secret, still union, without cloud or colour.” “I wish not,” said St. Catherine of Genoa, “for anything that comes forth from Thee, but only for Thee, oh sweetest Love!”

(3) The business and method of Mysticism is Love.

Here is one of the distinctive notes of true mysticism; marking it off from every other kind of transcendental theory and practice and providing the answer to the question with which our last chapter closed. It is the eager, outgoing activity whose driving power is generous love, not the absorbent, indrawing activity which strives only for new knowledge, that is fruitful in the spiritual as well as in the physical world.

Volumes of extracts might be compiled from the works of the mystics illustrative of this rule, which is indeed their central principle. Love to the mystic, is (a) the active, conative, expression of his will and desire for the Absolute; (b) his innate tendency to that Absolute, his spiritual weight. He is only thoroughly natural, thoroughly alive, when he is obeying its voice. For him it is the source of joy, the secret of the universe, the vivifying principle of things. Hence in St. Catherine of Siena’s exquisite allegory it is the feet of the soul’s affection which brings it first to the Bridge, “for the feet carry the body as affection carries the soul.”

“How great a thing is Love, great above all other goods: for alone it makes all that is heavy light, and bears evenly all that is uneven. . . .

“Love would be aloft, nor will it be kept back by any lower thing. Love would be free, and estranged from all worldly affection, that its inward sight be not hindered: that it may not be entangled by any temporal comfort, nor succumb to any tribulation.

“Nought is sweeter than love, nought stronger, nought higher, nought wider: there is no more joyous, fuller, better thing in heaven or earth. For love is born of God, and cannot rest save in God, above all created things. 

“The lover flies, runs, and, rejoices: he is free, and cannot be restrained. He gives all for all, and has all in all; for he rests in One Supreme above all, from whom all good flows and proceeds.
“He looks not at the gift, but above all goods turns himself to the giver.

“. . . He who loves knows the cry of this voice. For this burning affection of the soul is a loud cry in the ears of God when it saith ‘My God, My Love, Thou art all mine, and I am all Thine.’” [The Imitation of Christ]

Well might Hilton say that “Perfect love maketh God and the soul to be as if they both together were but one thing,” and Tauler that “the well of life is love, and he who dwelleth not in love is dead.”
These, nevertheless, are objective and didactic utterances; though their substance may be—probably is—personal, their form is not. But if we want to see what it really means to be “in love with the Absolute,”—how intensely actual to the mystic is the Object of his passion, how far removed from the spheres of pious duty or philosophic speculation, how concrete, positive and dominant such a passion may be—we must study the literature of autobiography, not that of poetry or exhortation.
Attraction, desire, and union as the fulfilment of desire; this is the way Life works, in the highest as in the lowest things. The mystic’s outlook, indeed, is the lover’s outlook. It has the same element of wildness, the same quality of selfless and quixotic devotion, the same combination of rapture and humility. This parallel is more than a pretty fancy: for mystic and lover, upon different planes, are alike responding to the call of the Spirit of Life. The language of human passion is tepid and insignificant beside the language in which the mystics try to tell the splendours of their love. They force upon the unprejudiced reader the conviction that they are dealing with an ardour far more burning for an Object far more real.

“This monk can give lessons to lovers!” exclaimed Arthur Symons in astonishment of St. John of the Cross. It would be strange if he could not; since their finite passions are but the feeble images of his infinite one, their beloved the imperfect symbol of his First and only Fair. “I saw Him and sought Him: I had Him and I wanted Him,” says Julian of Norwich, in a phrase which seems to sum up all the ecstasy and longing of man’s soul. Only this mystic passion can lead us from our prison. Its brother, the desire of knowledge, may enlarge and improve the premises to an extent as yet undreamed of: but it can never unlock the doors.

(4) Mysticism entails a definite Psychological Experience.  

That is to say, it shows itself not merely as an attitude of mind and heart, but as a form of organic life. It is not only a theory of the intellect or a hunger, however passionate, of the heart. It involves the organizing of the whole self, conscious and unconscious, under the spur of such a hunger: a remaking of the whole character on high levels in the interests of the transcendental life. The mystics are emphatic in their statement that spiritual desires are useless unless they initiate this costly movement of the whole self towards the Real.

We have said that the full mystic consciousness is extended in two distinct directions. So too there are two distinct sides to the full mystical experience. (A) The vision or consciousness of Absolute Perfection. (B) The inward transmutation to which that Vision compels the mystic, in order that he may be to some extent worthy of that which he has beheld: may take his place within the order of Reality. He has seen the Perfect; he wants to be perfect too. The moral virtues are for him, then, the obligatory “ornaments of the Spiritual Marriage” as Ruysbroeck called them: though far more than their presence is needed to bring that marriage about. Unless this impulse for moral perfection be born in him, this travail of the inner life begun, he is no mystic: though he may well be a visionary, a prophet, a “mystical” poet.

Moreover, this process of transmutation, this rebuilding of the self on higher levels, will involve the establishment within the field of consciousness, the making “central for life,” of those subconscious spiritual perceptions which are the primary material of mystical experience. The end and object of this “inward alchemy” will be the raising of the whole self to the condition in which conscious and permanent union with the Absolute takes place and man, ascending to the summit of his manhood, enters into that greater life for which he was made. In its journey towards this union, the subject commonly passes through certain well-marked phases, which constitute what is known as the “Mystic Way.” This statement rules out from the true mystic kingdom all merely sentimental and affective piety and visionary poetry, no less than mystical philosophy. It brings us back to our first proposition—the concrete and practical nature of the mystical act.

More than the apprehension of God, then, more than the passion for the Absolute, is needed to make a mystic. These must be combined with an appropriate psychological make-up, with a nature capable of extraordinary concentration, an exalted moral emotion, a nervous organization of the artistic type. All these are necessary to the successful development of the mystic life process. In the experience of those mystics who have left us the records of their own lives, the successive stages of this life process are always traceable.

Suso, St. Teresa, and many others have left us valuable self-analyses for comparison: and from them we see how arduous, how definite, and how far removed from mere emotional or intellectual activity, is that educational discipline by which “the eye which looks upon Eternity” is able to come to its own. Though we may be amazed and delighted by his adventures and discoveries on the way, to him the voyage and the end are all. “The road on which we enter is a royal road which leads to heaven,” says St. Teresa. “Is it strange that the conquest of such a treasure should cost us rather dear?”

It is one of the many indirect testimonies to the objective reality of mysticism that the stages of this road, the psychology of the spiritual ascent, as described to us by different schools of contemplatives, always present practically the same sequence of states. The “school for saints” has never found it necessary to bring its curriculum up to date. Though each wayfarer may choose different landmarks, it is clear from their comparison that the road is one.

(5) As a corollary to these four rules, it is perhaps well to reiterate the statement already made, that True Mysticism is never self-seeking. It is not, as many think, the pursuit of supernatural joys; the satisfaction of a high ambition. The mystic does not enter on his quest because he desires the happiness of the Beatific Vision, the ecstasy of union with the Absolute, or any other personal reward. That noblest of all passions, the passion for perfection for Love’s sake, far outweighs the desire for transcendental satisfaction. “O Love,” said St. Catherine of Genoa, “I do not wish to follow thee for sake of these delights, but solely from the motive of true love.” Those who do otherwise are only, in the plain words of St. John of the Cross, “spiritual gluttons”: or, in the milder metaphor here adopted, magicians of the more high-minded sort. The true mystic claims no promises and makes no demands. He goes because he must, as Galahad went towards the Grail: knowing that for those who can live it, this alone is life. He never rests in that search for God which he holds to be the fulfilment of his highest duty; yet he seeks without any certainty of success. He holds with St. Bernard that “He alone is God who can never be sought in vain: not even when He cannot be found.”

“Whether we live or whether we die,” said St. Paul, “we are the Lord’s.” The mystic is a realist, to whom these words convey not a dogma but an invitation: an invitation to the soul to attain that fullness of life for which she was made, to “lose herself in That which can be neither seen nor touched; giving herself entirely to this sovereign Object without belonging either to herself or to others; united to the Unknown by the most noble part of herself and because of her renouncement of knowledge; finally drawing from this absolute ignorance a knowledge which the understanding knows not how to attain. Mysticism, then, is seen as the “one way out” for the awakened spirit of man; healing that human incompleteness which is the origin of our divine unrest. The mystics have never turned away: to do so would have seemed to them a self-destructive act. Here, in this world of illusion, they say, we have no continuing city. This statement, to you a proposition, is to us the central fact of life.

To sum up. Mysticism is seen to be a highly specialized form of that search for reality, for heightened and completed life, which we have found to be a constant characteristic of human consciousness. It is largely prosecuted by that “spiritual spark,” that transcendental faculty which, though the life of our life, remains below the threshold in ordinary men. Emerging from its hiddenness in the mystic, it gradually becomes the dominant factor in his life; subduing to its service, and enhancing by its saving contact with reality, those vital powers of love and will which we attribute to the heart, rather than those of mere reason and perception, which we attribute to the head. Under the spur of this love and will, the whole personality rises in the acts of contemplation and ecstasy to a level of consciousness at which it becomes aware of a new field of perception. By this awareness, by this “loving sight,” it is stimulated to a new life in accordance with the Reality which it has beheld. So strange and exalted is this life, that it never fails to provoke either the anger or the admiration of other men.

A discussion of mysticism, regarded as a form of human life, will therefore include two branches. First the life process of the mystic: the remaking of his personality; the method by which his peculiar consciousness of the Absolute is attained, and faculties which have been evolved to meet the requirements of the phenomenal, are enabled to do work on the transcendental, plane. This is the “Mystic Way” in which the self passes through the states or stages of development which were codified by the Neoplatonists, and after them by the mediaeval mystics, as Purgation, Illumination, and Ecstasy.

Secondly, the content of the mystical field of perception; the revelation under which the contemplative becomes aware of the Absolute; the so called doctrines of mysticism: the attempts of the articulate mystic to sketch for us the world into which he has looked, in language which is only adequate to the world in which the rest of us dwell. Here the difficult question of symbolism, and of symbolic theology, comes in: a point upon which many promising expositions of the mystics have been wrecked: the apparent contradictions of objective and subjective revelations, of the ways of negation and affirmation, emanation and immanence, surrender and deification, the Divine Dark and the Inward Light; . . . [but ultimately] the essential unity of that experience in which the human soul enters consciously into the Presence of God.

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