The Creative Process in the Individual by Thomas Troward
page 33 of 111 (29%)
page 33 of 111 (29%)
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from the cosmic one. This is where the importance of realizing only ONE
Originating Power instead of two interacting powers comes in, for it means that we do not derive our power from any existing polarity, but that we are going to establish polarities which will start secondary causation on the lines which we thus determine. This also is where the importance comes in of recognizing that the only possible originating movement of spirit must be Self-contemplation, for this shows us that we do not have to contemplate existing conditions but the Divine Ideal, and that this contemplation of the Divine Ideal of Man is the Self-contemplation of the Spirit from the standpoint of Human Individuality. Then the question arises, if these principles are true, why are we not demonstrating them? Well, when our fundamental principle is obviously correct and yet we do not get the proper results, the only inference is that somewhere or other we have introduced something antagonistic to the fundamental principle, something not inherent in the principle itself and which therefore owes its presence to some action of our own. Now the error consists in the belief that the Creative Power is limited by the material in which it works. If this be assumed, then you have to calculate the resistances offered by the material; and since by the terms of the Creative Process these resistances do not really exist, you have no basis of calculation at all--in fact you have no means of knowing where you are, and everything is in confusion. This is why it is so important to remember that the Creative Process is the action of a Single Power, and that the interaction of two opposite polarities comes in at a later stage, and is not creative, but only distributive--that is to say, it localizes the Energy already proceeding from the Single Power. This is a fundamental truth which should never be lost sight of. So long, however, as we fail to see this truth we necessarily limit the Creative Power by the material it works in, and in practise we do this by referring to past experience as the |
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