faculties of selection and adaptation of means to ends, and thus
distributes energy and life in accordance with a recognizable
scheme of cosmic progression. It is therefore not only Life, but
also Intelligence, and Life guided by Intelligence becomes
Volition. It is this primary originating power which we mean when
we speak of "The Spirit," and it is into this Spirit of the whole
universe that we must enter if we would reproduce it as a spring
of Original Life in ourselves.

Now in the case of the productions of artistic genius we know
that we must enter into the movement of the creative mind of the
artist, before we can realize the principle which gives rise to
his work. We must learn to partake of the feeling, to find
expression for which is the motive of his creative activity. May
we not apply the same principle to the Greater Creative Mind with
which we are seeking to deal? There is something in the work of
the artist which is akin to that of original creation. His work,
literary, musical, or graphic is original creation on a miniature
scale, and in this it differs from that of the engineer, which is
constructive, or that of the scientist which is analytical; for
the artist in a sense creates something out of nothing, and
therefore starts from the stand-point of simple feeling, and not
from that of a pre-existing necessity. This, by the hypothesis of
the case, is true also of the Parent Mind, for at the stage where
the initial movement of creation takes place, there are no
existing conditions to compel action in one direction more than
another. Consequently the direction taken by the creative impulse
is not dictated by outward circumstances, and the primary
movement must therefore be entirely due to the action of the
Original Mind upon itself; it is the reaching out of this Mind