Chapter 10

"... The best period of a man's life; days of safety and content; long hours in the pure trance of work; ambition has ceased to burn, doubt is ended, the finished forces turn _outward_ in service. According to the measure of the giving is the replenishment in vitality. The pure trance of work, the different reservoirs of power opening so softly; the instrument in pure listening--long forenoons passing, without a single instant of self-consciousness, desire, enviousness, without even awareness of the body....

"Every law that makes for man's finer workmanship makes for his higher life. The mastery of self prepares man to make his answer to the world for his being. The man who has mastered himself is one with all. Castor and Pollux tell him immortal love stories; all is marvellous and lovely from the plant to the planet, because man is a lover, when he has mastered himself. All the folded treasures and open highways of the mind, its multitude of experiences and unreckonable possessions--are given over to the creative and universal force--the same force that is lustrous in the lily, incandescent in the suns, memorable in human heroism, immortal in man's love for his fellow man.

"This giving force alone holds the workman true through his task. He, first of all, feels the uplift; he, first of all, is cleansed by the power of the superb life-force passing through him.... This is rhythm; this is the cohering line; this is being the One. But there are no two instruments alike, since we have come up by different roads from the rock; and though we achieve the very sanctity of self-command, our inimitable hallmark is wrought in the fabric of our task."

* * * * *

Guiding one's own for an hour or two each day is not a thing to do for money. The more valuable a man's time (if his payment in the world's standards happens to be commensurate with his skill) the more valuable he will be to his little group. He will find himself a better workman for expressing himself to his own, giving the fruits of his life to others. He will touch immortal truths before he has gone very far, and Light comes to the life that contacts such fine things. He will see the big moments of his life in a way that he did not formerly understand. Faltering will more and more leave his expression, and the cohering line of his life will become more clearly established.

_A man's own are those who are awaiting the same call that he has already answered._ Browning stood amazed before a man who had met Shelley and was not different afterward--a man who could idly announce that he had met the poet Shelley and not accept it as the big event of a period. Browning described his dismay at the other in the story of finding the eagle feather. He did not know the name of the moor; perhaps men had made much of it; perhaps significant matters of history had been enacted on that moor, but they were nothing to the mystic. One square of earth there, the size of a human hand, was sacred to him, because it was just on that spot that he found an eagle's feather.

I stood waist-high to Conan Doyle years ago--was speechless and outraged that groups of people who had listened to him speak, could gather about afterward, talk and laugh familiarly, beg his autograph.... Had he spoken a word or a sentence to me, it would not have been writ in water.... There is no hate nor any love like that which the men who are called to the same task have for each other. The masters of the crafts know each other; the mystics of the arts know each other.

The preparation for the tasks of the world is potential in the breasts of the children behind us. For each there is a magic key; and that man holds it who has covered the journey, or part of it, which the soul of a child perceives it must set out upon soon. The presence of a good workman will awaken the potential proclivity of the child's nature, as no other presence can do. Every autobiography tells the same story--of a certain wonder-moment of youth, when the ideal appeared, and all energies were turned thereafter to something concrete which that ideal signified. Mostly the "great man" did not know what he had done for the boy.... I would have the great man know. I would have him seek to perform this miracle every day.

There's always a hush in the room when some one comes to me saying, "There is a young man who dreams of writing. He is very strange. He does not speak about it. He is afraid to show what he has done. I wanted to bring him to you--but he would not come. I think he did not dare."

Formerly I would say, "Bring him over some time," but that seldom brought the thing about. A man should say, "_Lead me to him now_!..." Those who want to write for money and for the movies come. They put stamps upon letters they write. God knows they are not ashamed to come and ask for help, and explain their symptoms of yearning and show their structure of desire.... The one who dares not come; who dares not mail the letter he has written to you, who is speechless if you seek him out, full of terror and torture before you--take him to your breast for he is your own. Children you have fathered may not be so truly yours as he.... Do you want a slave, a worshipper--seek out your own. You want nothing of the sort, but you alone can free the slave, you alone can liberate his worship to the task. He can learn from you in a week what it would take years of misery in the world to teach him. You have done in a way the thing he wants to do--that's the whole magic. You have fitted somehow to action the dream that already tortures his heart. There is nothing so pure as work in the world. There is something sacred about a man's work that is not elsewhere in matter. Teaching is a mutual service.... It is not that you want his reverence, but because he has reverence, he is potentially great.

The ignition of one youth, the finding of his work for one youth, is a worthy life task. The same possibility of service holds true for all kinds of workmen; these things are not alone for the artists and the craftsmen and the professions. There is one boy to linger about the forge of an artisan, after the others have gone. I would have the artisan forget the thing he is doing, to look into the eyes of that boy--and the chemist, the electrician, the florist.

It is true that the expression called for here is mainly through written words, but that is only our particularity. It need not be so.... The work here would not do for all.... A young woman came and sat with us for several days. She was so still that I did not know what was happening in her mind. My experience with the others had prevailed to make me go slowly, and not to judge. We all liked her, all learned to be glad that she had come. I asked no expression from her for several days. When I finally suggested something of the kind, I felt the sudden terror in the room. Her expression came in a very brief form, and it showed me the bewilderment with which she had encountered the new points of view in the Chapel. I learned afresh that one must not hurry; that my first work was to put to rest her fears of being called upon. I impressed upon the class the next day that we have all the time there is; that we want nothing; that our work is to establish in due time the natural expressions of our faculties. To the young woman in particular, I said that when she felt like it she could write again.

Presently there was a day's absence and another. I sent the little girl to see if she were ill. The little girl was gone the full afternoon. All I ever got from that afternoon was this sentence:

"... She is going to be a nurse."

I have wondered many times if she would have become a nurse had I allowed her to sit unexpressed for a month instead of a week; permitting her surely to find her ease and understanding of us.... Still we must have nurses.

* * * * *

... And then the Columbia young man--a big fellow and a soul. I had talked to him for many nights in an Upper Room class in the city. He took a cottage here through part of the first summer, before the Chapel began; then, through the months of Chapel and story work in the evening, I had good opportunity to become acquainted with the processes of his mind and heart. Of the last, I have nothing but admiration; invincible integrity, a natural kindness, a large equipment after the manner of the world's bestowal--but Inertia.

Now Inertia is the first enemy of the soul. It is caused by pounds. I do not mean that because a body is big, or even because a body is fat, that it is of necessity an impossible medium for the expression of the valuable inner life. There have been great fat men whose spiritual energy came forth to intensify the vibrations of the race, to say nothing of their own poundage. It is less a matter of weight after all than texture; still their fat was a handicap.

These facts are indubitable: Sensuousness makes weight in bulls and men; all the habits that tend to put on flesh tend to stifle the expression of the inner life. All the habits which tend to express the human spirit bring about a refinement of the body. More spiritual energy is required to express itself through one hundred and ninety pounds than through one hundred and forty pounds. Accordingly as we progress in the expression of the spiritual life, the refinement of our bodies takes place. As a whole, the great servers of men carry little excess tissue; as a whole in every fabrication of man and nature--the finer the work, the finer the instrument.

The body is continually levitated through spiritual expression and continually the more responsive to gravitation by sensuous expression.

The exquisite blending of maiden pink and sunlight gold that is brought forth in the Clovelly tea-rose could not be produced upon the petals of a dahlia or a morning-glory. That ineffable hue is not a matter of pigment alone; it can only be painted upon a surface fine enough. The texture of the tea-rose petals had to be evolved to receive it.... You must have gold or platinum points for the finest work; the brighter the light the finer the carbon demanded. It is so with our bodies. We live either for appetites or aspirations. The flood of outgoing human spirit, in its passionate gifts to men, incorporates its living light within the cells of our voice-cords and brain and hands. With every thought and emotion we give ourselves to the earth or give ourselves to the sky.

The soul is not inert; its instrument, the body, is so, by its very nature, formed of matter. The earth has required the quickening of countless ages to produce the form that we see--the gracious beauties of the older trees, the contour of cliffs. The very stem and leaf of a Clovelly rose is beautiful.

The finest rose of this season, when cut at the end of its budding mystery, left nothing but a little grey plant that you could cover in your hand. You would not think that such a plant could grow a bachelor's button; and yet it gave up an individual that long will be remembered in human minds. I saw that rose in the arch of a child's hand--and all about were hushed by the picture. For three days it continued to expand, and for three days more it held its own great beauty and then showered itself with a laugh upon a desk of blackened oak. We will not forget that inner ardency--the virgin unfolding to the sun--born of some great passion that seemed poised between earth and heaven--and expectant of its own great passion's maturity.

I went back to the little plant, called the children to it and all who would come. It was grey and neutral like the ground. I think a low song of content came from it. The Dakotan said so, and he hears these things. I thought of the ecstasy of the great givings--the ecstasy of the little old grey woman who had mothered a prophet and heard his voice afar in the world.

I showed them the lush and vulgar stems of the American beauties, whose marketable excellence is measured by size, as the cabbage is, and whose corresponding red is the red of an apoplectic throat. I showed them the shoulders and mane of a farm-horse and then the shoulders and mane of a thoroughbred. Upon the first the flies fed without touching a nerve; but the satin-skinned thoroughbred had to be kept in a darkened stall. The first had great foliages of coarse mane and tail; the other, a splendid beast that would kill himself for you, did not run to hair.

We stand to-day the product of our past ideals. We are making our future in form and texture and dynamics by the force of our present hour idealism. Finer and finer, more and more immaterial and lustrous we become, according to the use and growth of our real and inner life. It is the quickening spirit which beautifies the form, and draws unto itself the excellences of nature. The spiritual person is lighter for his size, longer-lived, of more redundant health, of a more natural elasticity, capable of infinitely greater physical, mental, and moral tasks, than the tightly compacted earth-bound man.... That is not a mere painter's flourish which adds a halo to the head of a saint. It is there if we see clearly. If the sanctity is radiant, the glow is intense enough to refract the light, to cast a shadow, to be photographed, even caught with the physical eye.

16

THE PLAN IS ONE

I was relating the experience of the Columbian. In his case there had been much time, so there could be no mistake. He had devoted himself to making and keeping a rather magnificent set of muscles which manifested even through white man's clothing. He did this with long days of sailing and swimming, cultivating his body with the assiduity of a convalescent.... I told him in various ways he was not getting himself out of his work; explained that true preparation is a tearing off of husks one after another; that he was a fine creation in husk, but that he must get down to the quick before he could taste or feel or see with that sensitiveness which would make any observation of his valuable. With all this body-building, he was in reality only covering himself the thicker. If a man does this sort of thing for a woman's eye, he can only attract a creature of blood and iron whose ideal is a policeman--a very popular ideal....

For two or three days he would work terrifically, then, his weight besetting, he would placate himself with long tissue-feeding sports. I told him that he had everything to build upon; that true strength really begins where physical strength ends; that all that he had in equipment must be set in order and integrated with his own intrinsic powers, it being valueless otherwise. I pointed out that he was but a collector of things he could not understand, because he did not use them; that the great doers of the world had toiled for years upon years, as he did not toil for one week's days successively.... It would not do, except for short intervals, and it came to me that my best service was to get out from under. I told him so, and the manliness of his acceptance choked me. I told him to go away, but to come again later if he mastered Inertia in part.... It was not all his fault. From somewhere, an income reached him regularly, a most complete and commanding curse for any boy.

... I do not believe in long vacations. Children turned loose to play for ten weeks without their tasks, are most miserable creatures at the end of the first fortnight. They become more at ease as the vacation period advances, but that is because the husk is thickening, a most dangerous accretion. The restlessness is less apparent because the body becomes heavy with play. It all must be worn down again, before the fitness of faculty can manifest.

If one's body is ill from overexertion, it must rest; if one's mind is ill from nervousness, stimulation, or from excessive brain activity, it must rest; but if one's soul is ill, and this is the difference, nothing but activity will help it, and this activity can only be expressed through the body and mind. Surplus rest of body or mind is a process of over-feeding, which is a coarsening and thickening of tissue, which in its turn causes Inertia, and this word I continually capitalise, for it is the first devil of the soul.

Before every spiritual illumination, this Inertia, in a measure, must be overcome. If you could watch the secret life of the great workers of the world, especially those who have survived the sensuous periods of their lives, you would find them in an almost incessant activity; that their sleep is brief and light, though a pure relaxation; that they do not eat heartily more than once a day; that they reach at times _a great calm_, another dimension of calm entirely from that which has to do with animal peace and repletion. It is the peace of intensive production--and the spectacle of it is best seen when you lift the super from a hive of bees, the spirit of which animates every moving creature to one constructive end. That which emanates from this intensity of action is calm, is harmony, and harmony is rest. A man does not have to sink into a stupor in order to rest. The hours required for rest have more to do with the amount of food one takes, and the amount of tissue one tears down from bad habits, than from the amount of work done. Absolutely this is true if a man's work is his own peculiar task, for the work a man loves replenishes.

Desire tears down tissue. There is no pain more subtle and terrifying than to want something with fury. To the one who is caught in the rhythm of his task, who can lose himself in it, even the processes which so continually tear down the body are suspended. In fact, if we could hold this rhythm, we could not die.

This is what I would tell you: Rhythm of work is joy. This is the full exercise--soul and brain and body in one. Time does not enter; the self does not enter; all forces of beautifying play upon the life. There is a song from it--that some time all shall hear, the song that mystics have heard from the bees, and from open nature at sunrise, and from all selfless productivity.

One cannot play until one has worked--that is the whole truth. Ask that restless child to put a room in order, to cleanse a hard-wood floor, to polish the bath fixtures. Give him the ideal of cool, flyless cleanliness in a room. Hold the picture of what you want in mind and detail it to him, saying that you will come again and inspect his work. Watch, if you care, the mystery of it. There will be silence until the thing begins to unfold for him--until the polish comes to wood or metal, until the thing begins to answer and the picture of completion bursts upon him. Then you will hear a whistle or a hum, and nothing will break his theme until the end.

The ideal is everything. You may impress upon him that the light falls differently upon clean things, that the odour is sweet from clean things; that the hand delights to touch them, that the heart is rested when one enters a clean room, because its order is soothing.... It isn't the room, after all, that gets all the order and cleansing. The whistle or the hum comes from harmony within.

A man who drank intolerably on occasion told me that the way he "climbed out" was to get to cleaning something; that his thoughts freshened up when he had some new surface to put on an object. He meant that the order came to his chaos, and the influx of life began to cleanse away the litter of burned tissue and the debris of debauch. One cannot keep on thinking evil thoughts while he makes a floor or a gun or a field clean. The thing is well known in naval and military service where bodies of men are kept in order by continual polishing of brasses and decks and accoutrements. A queer, good answer comes to some from softening and cleansing leather. There is a little boy here whose occasional restlessness is magically done away with, if he is turned loose with sponge and harness-dressing upon a saddle and bridle. He sometimes rebels at first (before the task answers and the picture comes) but presently he will appear wide-eyed and at peace, bent upon showing his work.

Play is a drug and a bore, until one has worked. I do not believe in athletics for athletics' sake. Many young men have been ruined by being inordinately praised for physical prowess in early years. Praise for bodily excellence appeals to deep vanities and is a subtle deranger of the larger faculties of man. The athlete emerges into the world expectant of praise. It is not forthcoming, and his real powers have been untrained to earn the greater reward. Moreover the one-pointed training for some great momentary physical stress, in field events, is a body-breaker in itself, a fact which has been shown all too often and dramatically. Baseball and billiards are great games, but as life-quests--except for the few consummately adapted players whose little orbit of powers finds completion in diamond or green-baized rectangle--the excessive devotion to such play is desolating, indeed, and that which is given in return is fickle and puerile adulation.

A man's work is the highest play. There is nothing that can compare with it, as any of the world's workmen will tell you. It is the thing he loves best to do--constructive play--giving play to his powers, bringing him to that raptness which is full inner breathing and timeless.... We use the woods and shore, water and sand and sun and garden for recreation. In the few hours of afternoon after Chapel until supper, no one here actually produces anything but vegetables and tan, yet the life-theme goes on. We are lying in the sun, and some one speaks; or some one brings down a bit of copy. We listen to the Lake; the sound and feel of water is different every day. We find the stingless bees on the bluff-path on the way to the bathing shore. It is all water and shore, but there is one place where the silence is deeper, the sun-stretch and sand-bar more perfect. We are very particular. One has found that sand takes magnetism from the human body, as fast as sunlight can give it, and he suggests that we rest upon the grass above--that fallow lands are fruitful and full of giving. We test it out like a wine, and decide there is something in it.

There is something in everything.

The Dakotan said (in his clipped way and so low-voiced that you have to bend to hear him) that the birds hear something in the morning that we don't get. He says there is a big harmony over the earth at sunrise, and that the birds catch the music of it, and that songs are their efforts to imitate it. An afternoon was not badly spent in discussing this. We recall the fact that it isn't the human ear-drum exactly which will get this--if it ever comes to us--and that Beethoven was stone-deaf when he _heard_ his last symphonies, the great pastoral and dance and choral pieces, and that he wrote them from his inner listening. Parts of them seem to us strains from that great harmony that the birds are trying to bring out.

We thought there must be such a harmony in a gilding wheat-field. Wheat is good; even its husk is good; beauty and order and service have come to it. There is dissonance from chaos; the song clears as the order begins. Order should have a Capital too. All rising life is a putting of surfaces and deeps in Order. The word Cosmos means Order.... Wheat has come far, and one does well to be alone for a time in a golden afternoon in a wheat-field just before cutting. One loves the Old Mother better for that adventure. She must give high for wheat. She must be virgin and strong and come naked and unashamed to the sun to bring forth wheat. She must bring down the spirit of the sun and blend it with her own--for wheat partakes of the _alkahest_. Wheat is a master, an aristocrat.