Changes

<div style="color:#000000;">By the higher vital parts of the nature I mean the vital mind, the emotional nature, the life-force dynamis in the being. The vital mind is that part of the vital being which builds, plans, imagines.</div>

<div style="color:#000000;">… an unbalanced vital and a weak nervous system apt to follow its own imaginations and unruled impulses without any true mental will or strong vital will to steady or restrain it, and so at the mercy of the imaginations.</div>

<div style="color:#000000;">This at once raises the question of the nature of Mind, the parent of these illusions, and its relation to the original Existence. Is mind the child and instrument of an original Illusion, or is it itself a primal miscreating Force or Consciousness? or is the mental ignorance a misprision of the truths of Existence, a deviation from an original Truth-Consciousness which is the real world-builder? Our own mind, at any rate, is not an original and primary creative power of Consciousness; it is, and all mind of the same character must be, derivative, an instrumental demiurge, an intermediary creator. It is likely then that analogies from the errors of mind, which are the outcome of an intermediate Ignorance, may not truly illustrate the nature or action of an original creative Illusion, an all-inventing and all-constructing Maya. Our mind stands between a superconscience and an inconscience and receives from both these opposite powers: it stands between an occult subliminal existence and an outward cosmic phenomenon; it receives inspirations, intuitions, imaginations, impulsions to knowledge and action, figures of subjective realities or possibilities from the unknown inner source; it receives the figures of realised actualities and their suggestions of further possibility from the observed cosmic phenomenon. What it receives are truths essential, possible or actual; it starts from the realised actualities of the physical universe and it brings out from them in its subjective action the unrealised possibilities which they contain or suggest or to which it can arrive by proceeding from them as a starting-point: it selects some out of these possibilities for a subjective action and plays with imagined or inwardly constructed forms of them; it chooses others for objectivisation and attempts to realise them. But it receives inspirations also from above and within, from invisible sources and not only from the impacts of the visible cosmic phenomenon; it sees truths other than those suggested by the actual physicality around it, and here too it plays subjectively with transmitted or constructed forms of these truths or it selects for objectivisation, attempts to realise.</div>

<div style="color:#000000;">Imagination, for instance, is when you begin to picture to yourself an ideal being to whom you apply all your conceptions, and when you tell yourself, "Why, it should be like this, like that, its form should be like this, its thought like that, its character like that," when you see all the details and build up the being. Now, writers do this all the time because when they write a novel, they imagine. There are those who take things from life but there are those who are imaginative, creators; they create a character, a personage and then put him in their book later. This is to imagine. To imagine, for example, a whole concurrence of circumstances, a set of events, this is what I call telling a story to oneself. But it can be put down on paper, and then one becomes a novelist. There are very different kinds of writers. Some imagine everything, some gather all sorts of observations from life and construct their book with them. There are a hundred ways of writing a book. But indeed some writers imagine everything from beginning to end. It all comes out of their head and they construct even their whole story without any support in things physically observed. This truly is imagination. But as I say, if they are very powerful and have a considerable capacity for creation, it is possible that one day or other there will be a physical human being who realises their creation. This too is true.</div>

<div style="color:#000000;">If you imagined something more beautiful, a more beautiful life, that would be worth the trouble. People who take pleasure in writing ugly things show a great poverty of mind—it is always a sign of a poverty of mind. It is infinitely more difficult to tell a story beautiful from beginning to end than to write a story ending with a sensational event or a catastrophe. Many authors, if they had to write a story which ends happily, beautifully, would not be able to do it—they do not have enough imagination for that. Very few stories have an uplifting ending, almost all end in a failure—for a very simple reason, it is much more easy to fall than to rise. It is much more difficult to end one's story on a note of greatness and splendour, to make one's hero a genius seeking to transcend himself, because for that one must be a genius oneself, and this is not given to everybody.</div>