HPB-SB-3-205: Difference between revisions
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{{Style P-HPB SB. Title continued |The Poetic Clairvoyance|3-204}} | {{Style P-HPB SB. Title continued |The Poetic Clairvoyance|3-204}} | ||
... | {{Style P-No indent|soon as the fine frenzy or quasi trance-state is fairly established, the consciousness watches the torrent of thoughts and arrests the ones wanted, singly with their fitting expression, or in groups of fortunate sequences which he cannot better by after treatment. As the poetical vocabulary is limited and its plasticity lends itself to certain moulds, the mind works under great difficulty, at least until it has acquired by practice such handling of language that every possibility of rhythm or rhyme offers itself actually or potentially to the clairvoyant perception simultaneously with the thought it is to embody. Thus poetical composition is the most intense, the most exciting, and, therefore, the most exhausting of mental exercises. It is exciting because its mental states are a series of revelations and surprises; intense on account of the double strain upon the attention. The poet is not the same man who seated himself an hour ago at the desk, with the dust-cart and the gutter, or the duck-pond and the haystack and the barnyard fowls beneath his window. He is in the forest with the song-birds; he is on the mountain-top with the eagles. He sat down in rusty broadcloth, he is arrayed in the imperial purple of his singing-robes. Let him alone now, if you are wise, for you might as well have pushed the arm that was finishing the smile of a Madonna, or laid a rail before a train that had a queen on board, as thrust your untimely question on this half cataleptic child of the muse, who hardly knows whether he is in the body or out of the body. And do not wonder if, when the fit is over, he is in some respects like one who is recovering after an excess of he baser stimulants.}} | ||
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| continues = | | continues = | ||
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| title =The Development of the Human Eye | | title = The Development of the Human Eye | ||
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| notes =The Spiritual Scientist | | notes = The Spiritual Scientist | ||
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Revision as of 16:16, 20 December 2023
< The Poetic Clairvoyance (continued from page 3-204) >
soon as the fine frenzy or quasi trance-state is fairly established, the consciousness watches the torrent of thoughts and arrests the ones wanted, singly with their fitting expression, or in groups of fortunate sequences which he cannot better by after treatment. As the poetical vocabulary is limited and its plasticity lends itself to certain moulds, the mind works under great difficulty, at least until it has acquired by practice such handling of language that every possibility of rhythm or rhyme offers itself actually or potentially to the clairvoyant perception simultaneously with the thought it is to embody. Thus poetical composition is the most intense, the most exciting, and, therefore, the most exhausting of mental exercises. It is exciting because its mental states are a series of revelations and surprises; intense on account of the double strain upon the attention. The poet is not the same man who seated himself an hour ago at the desk, with the dust-cart and the gutter, or the duck-pond and the haystack and the barnyard fowls beneath his window. He is in the forest with the song-birds; he is on the mountain-top with the eagles. He sat down in rusty broadcloth, he is arrayed in the imperial purple of his singing-robes. Let him alone now, if you are wise, for you might as well have pushed the arm that was finishing the smile of a Madonna, or laid a rail before a train that had a queen on board, as thrust your untimely question on this half cataleptic child of the muse, who hardly knows whether he is in the body or out of the body. And do not wonder if, when the fit is over, he is in some respects like one who is recovering after an excess of he baser stimulants.
The Development of the Human Eye
...
The Relations of the Human Brain to Spiritual Phenomena
...
<... continues on page 3-206 >
Editor's notes