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Her eyes were on stalks as she stared at me for an instant and started to howl again with laughter, replying, Wh did ou u it i the first pla e?

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It was too late for me to cover-up for my previous insane response. She picked up the box of popcorn as I gazed at her bright long hair, while the light from the lamp's hall was shining on her out-of-price outfit. I immediately followed her as she softly asked me, with a fruity voice, for a cup of coffee. She had this way of talking that warmed her listeners up, one which could comfort even the stingiest of strangers.

Her style was one akin to celebrities; attracting all the eyes on her while she walked with inch heels toned perfectly to her clothes. She pushed her fingers through her glossy brown hair, flying away from her brilliant face as the fan blew off the rose aroma of her perfume, leaving a fresh trace on her trail.

Though we were different, we could both feel this pole of attraction in between that complemented our differences. Her work knocked my socks off! She worked as a counselor, which comprised of keeping people motivated. It was so far what I understood about her job. It seemed to be interesting, but too ideal for making a living to my expectations.

I straight away changed my mind with my jaws dropping when she uttered about her last talk of New York and being published in Forbes magazine. When we came to my career, there were only past joys and present sorrows to share, creating one of most de-motivating atmospheres for her. She made me realize that though I was really influential and famous in the past, none of the present celebrities had a clue about me. I was completely beside myself with grief as I heard her successful pathway, getting me back in nostalgia of the past, when I was still at the top of the social ladder. I calmly commented with an astonishing look.

This is very helpful, especially when your work is a out sol i g the pro le s of others. She calmly droned with her confident words. Juliana was an expert in counseling bigwigs; I could catch the emotions and feelings from her tone, while she tried motivating me with her philosophical adages. She flattered her success as one that happened more by accident than by design.

Her soft voice and faint perfume got me under a spell. Her cell-phone rang as she tried getting my pessimistic perceptions of life vanishing into thin air. Thus too, a man, an individual, in so far as he is a part, is not Humanity complete: but wheresoever there is associated with the parts something that is no Edition: current; Page: [ 28 ] part but a Divine, an Intellectual Being , this makes a whole of that in which it dwells. Man, man as partial thing, cannot be required to have attained to the very summit of goodness: if he had, he would have ceased to be of the partial order.

These considerations apply very well to things considered as standing alone: but there is a stumbling-block, a new problem, when we think of all these forms, permanent and ceaselessly produced, in mutual relationship. The animals devour each other: men attack each other: all is war without rest, without truce: this gives new force to the question how Reason can be author of the plan and how all can be declared well done. This new difficulty is not met by the former answer; that all stands as well as the nature of things allows; that the blame for their condition falls on Matter dragging them down; that, given the plan as we know it, evil cannot be eliminated and should not be; that the Matter making its presence felt is still not supreme but remains an element taken in from outside to contribute to a definite total, or rather to be itself brought to order by Reason.

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The Divine Reason is the beginning and the end; all that comes into being must be rational and fall at its coming into an ordered scheme reasonable at every point. Where, then, is the necessity of this bandit war of man and beast? This devouring of Kind by Kind is necessary as the means to the Edition: current; Page: [ 29 ] transmutation of living things which could not keep form for ever even though no other killed them: what grievance is it that when they must go their despatch is so planned as to be serviceable to others?

Still more, what does it matter when they are devoured only to return in some new form? The actor, of course, was not really killed; but if dying is but changing a body as the actor changes a costume, or even an exit from the body like the exit of the actor from the boards when he has no more to say or do, what is there so very dreadful in this transformation of living beings one into another? Surely it is much better so than if they had never existed: that way would mean the bleak quenching of life, precluded from passing outside itself; as the plan holds, life is poured copiously throughout a Universe, engendering the universal things and weaving variety into their being, never at rest from producing an endless sequence of comeliness and shapeliness, a living pastime.

Men directing their weapons against each other—under doom of death yet neatly lined up to fight as in the pyrrhic sword-dances of their sport—this is enough to tell us that all human intentions are but play, that death is nothing terrible, that to die in a war or in a fight is but to taste a little beforehand what old age has in store, to go away earlier and come back the sooner. So for misfortunes that may accompany life, the loss of property, for instance; the loser will see that there was a time when it was not his, that its possession is but a mock boon to the robbers, who will in their turn lose it to others, and even, that to retain property is a greater loss than to forfeit it.

Murders, death in all its guises, the reduction and sacking of cities, all must be to us just such a spectacle as the changing scenes of a play; all is but the varied incident of a plot, costume on and off, acted grief and lament. For on earth, in all the succession of life, it is not the Soul within but the Shadow outside of the authentic man, that grieves and complains and acts out the plot on this world stage which men have dotted with stages of their own constructing.

All this is the doing of Edition: current; Page: [ 30 ] man knowing no more than to live the lower and outer life, and never perceiving that, in his weeping and in his graver doings alike, he is but at play; to handle austere matters austerely is reserved for the thoughtful: the other kind of man is himself a futility. Those incapable of thinking gravely read gravity into frivolities which correspond to their own frivolous Nature.

Anyone that joins in their trifling and so comes to look on life with their eyes must understand that by lending himself to such idleness he has laid aside his own character. If Socrates himself takes part in the trifling, he trifles in the outer Socrates. We must remember, too, that we cannot take tears and laments as proof that anything is wrong; children cry and whimper where there is nothing amiss. But if all this is true, what room is left for evil?

Where are we to place wrong-doing and sin?

Psychic Gang: The Men of Knowledge

How explain that in a world organised in good, the efficient agents human beings behave unjustly, commit sin? And how comes misery if neither sin nor injustice exists? Again, if all our action is determined by a natural process, how can the distinction be maintained between behaviour in accordance with nature and behaviour in conflict with it? And what becomes of blasphemy against the divine? The blasphemer is made what he is: a dramatist has written a part insulting and maligning himself and given it to an actor to play.

These considerations oblige us to state the Logos the Reason-Principle of the Universe once again, and more clearly, and to justify its nature. This Reason-Principle, then—let us dare the definition in the hope of conveying the truth—this Logos is not the Intellectual Principle unmingled, not the Absolute Divine Intellect; nor does it descend from the pure Soul alone; it is a dependent of that Soul while, in a sense, it is a radiation from both those divine Hypostases: the Intellectual Principle and the Soul—the Soul as conditioned by the Intellectual Edition: current; Page: [ 31 ] Principle—engender this Logos which is a Life holding restfully a certain measure of Reason.

Now all life, even the least valuable, is an activity, and not a blind activity like that of flame; even where there is not sensation the activity of life is no mere haphazard play of Movement: any object in which life is present, any object which participates in Life, is at once enreasoned in the sense that the activity peculiar to life is formative, shaping as it moves. Life, then, aims at pattern as does the pantomimic dancer with his set movements; the mime, in himself, represents life, and, besides, his movements proceed in obedience to a pattern designed to symbolise life. By an imperfect communication it sets up a conflict of part against part: it produces imperfect things and so engenders and maintains war and attack, and thus its unity can be that only of a sum-total not of a thing undivided.

At war with itself in the parts which it now exhibits, it has the unity, or harmony, of a drama torn with struggle. The drama, of course, brings the conflicting elements to one final harmony, weaving the entire story of the clashing characters into one thing; while in the Logos the conflict of the divergent elements rises within the one element, the Reason-Principle: the comparison therefore is rather with a harmony emerging directly from the conflicting elements themselves, and the question becomes what introduces clashing elements among these Reason-Principles.

Now in the case of music, tones high and low are the product of Reason-Principles which, by the fact that they are Principles of harmony, meet in the unit of Harmony, the absolute Harmony, a more comprehensive Principle, greater than they and including them as its parts.

Similarly in the Universe at large we find contraries—white and black, hot and cold, winged and wingless, footed and footless, reasoning and unreasoning—but all these elements are members of one living body, Edition: current; Page: [ 32 ] their sum-total; the Universe is a self-accordant entity, its members everywhere clashing but the total being the manifestation of a Reason-Principle. That one Reason-Principle, then, must be the unification of conflicting Reason-Principles whose very opposition is the support of its coherence and, almost, of its Being. And indeed, if it were not multiple, it could not be a Universal Principle, it could not even be at all a Reason-Principle; in the fact of its being a Reason-Principle is contained the fact of interior difference.

Now the maximum of difference is contrariety; admitting that this differentiation exists and creates, it will create difference in the greatest and not in the least degree; in other words, the Reason-Principle, bringing about differentiation to the uttermost degree, will of necessity create contrarieties: it will be complete only by producing itself not in merely diverse things but in contrary things. The nature of the Reason-Principle is adequately expressed in its Act and, therefore, the wider its extension the nearer will its productions approach to full contrariety: hence the world of sense is less a unity than is its Reason-Principle; it contains a wider multiplicity and contrariety: its partial members will, therefore, be urged by a closer intention towards fullness of life, a warmer desire for unification.

But desire often destroys the desired; it seeks its own good, and if the desired object is perishable, the ruin follows: and the partial thing a human being, for example straining towards its completing principle draws towards itself all it possibly can. Thus, with the good we have the bad: we have the opposed movements of a dancer guided by one artistic plan; we recognise in his steps the good as against the bad, and see that in the opposition lies the merit of the design.

No; excuse lies with the Reason-Principle—and the Reason-Principle does not excuse them.


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Thus, every man has his place, a place that fits the good man, a place that fits the bad: each within the two orders of men makes his way, naturally, reasonably, to the place, good or bad, that suits him, and takes the position he has made his own. There he talks and acts, in blasphemy and crime or in all goodness: for the actors bring to this play what they were before it was ever staged. As the actors of our stages get their masks and their costume, robes of state or rags, so a Soul is allotted its fortunes, and not at haphazard but always under a Reason: it adapts itself to the fortunes assigned to it, attunes itself, ranges itself rightly to the drama, to the whole Principle of the piece: then it speaks out its business, exhibiting at the same time all that a Soul can express of its own quality, as a singer in a song.

But these actors, Souls, hold a peculiar dignity: they act in a vaster place than any stage: the Author has made them masters of all this world; they have a wide choice of place; they themselves determine the honour or discredit in which they are agents since their place and part are in keeping with their quality: they therefore fit into the Reason-Principle of the Universe, each adjusted, most legitimately, to the appropriate environment, as every string of the lyre is set in the precisely right position, determined by the Principle directing musical utterance, for the due production of the tones within its capacity.

All is just and good in the Universe in which every actor is set in his own quite appropriate place, though it be to utter in the Darkness and in Tartarus the dreadful sounds whose utterance there is well. This Universe is good not when the individual is a stone, but when everyone throws in his own voice towards a total harmony, singing out a life—thin, harsh, imperfect, though it be.

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The Syrinx does not utter merely one pure note; there is a thin obscure sound which blends in to make the harmony of Syrinx music: the harmony is made up from tones of various grades, all the tones differing, but the resultant of all forming one sound. Similarly the Reason-Principle entire is One, but it is broken into unequal parts: hence the difference of place found in the Universe, better spots and worse; and hence the inequality of Souls, finding their appropriate surroundings amid this local inequality. The diverse places of this sphere, the Souls of unequal grade and unlike conduct, are well exemplified by the distinction of parts in the Syrinx or any other instrument: there is local difference, but from every position every string gives forth its own tone, the sound appropriate, at once, to its particular place and to the entire plan.

Souls vary in worth; and the difference is due, among other causes, to an almost initial inequality; it is in reason that, standing to the Reason-Principle, as parts, they should be unequal by the fact of becoming separate. We must also remember that every Soul has its second grade and its third, and that, therefore, its expression may take any one of three main forms. But this point must be dealt with here again: the matter requires all possible elucidation.

For, in the All, the sequences, including what follows upon wickedness, become Reason-Principles, and therefore in right reason. Thus: from adultery and the violation of prisoners the process of nature will produce fine children, to grow, perhaps, into fine men; and where wicked violence has destroyed cities, other and nobler cities may rise in their place. But does not this make it absurd to introduce Souls as responsible causes, some acting for good and some for evil? If we thus exonerate the Reason-Principle from any part in wickedness do we not also cancel its credit for the good?

Why not simply take the doings of these actors in the universal drama for representative parts of the Reason-Principle as the doings of stage-actors are representative parts of the stage-drama? Why not admit that the Reason-Principle itself includes evil action as Edition: current; Page: [ 36 ] much as good action, and inspires the precise conduct of all its representatives?

Would not this be all the more plausible in that the universal drama is the completer creation and that the Reason-Principle is the source of all that exists? But this raises the question, What motive could lead the Logos to produce evil? The explanation, also, would take away all power in the Universe from Souls, even those nearest to the divine; they would all be mere parts of a Reason-Principle. And, further—unless all Reason-Principles are Souls—why should some be souls and others exclusively Reason-Principles when the All is itself a Soul?

The Reason-Principles are acts or expressions of a Universal Soul; its parts i. This unity, Soul, has different parts; the Reason-Principles, correspondingly, will also have their parts, and so, too, will the ultimates of the system, all that they bring into being. The Souls are in harmony with each other and so, too, are their acts and effects; but it is harmony in the sense of a resultant unity built out of contraries.

All things, as they rise from a unity, come back to unity by a sheer need of nature; differences unfold themselves, contraries are produced, but all is drawn into one organised system by the unity at the source. The principle may be illustrated from the different classes of animal Edition: current; Page: [ 37 ] life: there is one genus, horse, though horses among themselves fight and bite and show malice and angry envy: so all the others within the unity of their Kind; and so humanity.

Having attached all to this source, we turn to move down again in continuous division: we see the Unity fissuring, as it reaches out into Universality, and yet embracing all in one system so that with all its differentiation it is one multiple living thing—an organism in which each member executes the function of its own nature while it still has its being in that One Whole; fire burns; horse does horse work; men give, each the appropriate act of the peculiar personal quality—and upon the several particular Kinds to which each belongs follow the acts, and the good or evil of the life.

Circumstances are not sovereign over the good of life, for they are themselves moulded by their priors and come in as members of a sequence. The Leading-Principle holds all the threads while the minor agents, the individuals, serve according to their own capacities, as in a war the generalissimo lays down the plan and his subordinates do their best to its furtherance. The Universe has been ordered by a Providence that may be compared to a general; he has considered operations, conditions and such practical needs as food and drink, arms and engines of war; all the problem of reconciling these complex elements has been worked out beforehand so as to make it probable that the final event may be success.

For, even though the I is sovereign in choosing, yet by the fact of the choice the thing done takes its place in the ordered total.


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