The Supreme Doctrine - neo-alchemist

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Chapter Fifteen SENSATION AND SENTIMENT A T each given moment of emotion there exists a relation, as we have said, between the images which pass across our mind and our subjacent emotivity. This relation is complex; it is interesting to study because it comprises certain very subtle traps which prevent us from paying attention to our emotivity. It is important first of all to recall the essential distinction which exists between the imaginative film founded on the real present and the imaginative film invented in the mind. When I observe any spectacle in the outer world I observe it by means of an imaginative film which partially reproduces the spectacle outside, a film founded on the outer forms that my attention has seized. When I day-dream, in idleness or in the course of any activity, I perceive an imaginative film invented in my mind. Emotivity is connected in very different ways to these two kinds of films. We will study these two cases, using the following terms: the film founded on the outer world we will call the 'real imaginative film' (since it is founded on phenomena which, if they lack absolute reality, have, nevertheless a relative reality); the invented film we will call the 'imaginary film'. When it is a question of a real imaginative film the relation which exists between this film and emotivity is simple enough: the emotivity varies (quantitative variations of contraction-decontraction) according to the character, affirming or negating, of the images of the film: the images associated with a menace to my existence determine the emotive contraction, those associated with the continuation of my existence determine the diminution of this contraction, that is a relative relaxation. This reaction of the emotivity to the images of the real film constitutes a one-way relation: the form of the imaginative phenomena determines the form of the emotive phenomena. From the point of view of form the outside world is active and my inner world is passive. Nothing is motionless; the exterior phenomena change unceasingly, and the reacting emotivity varies unceasingly. There is 138
SENSATION AND SENTIMENT no motionless emotivity; there are only contractions, no spasm; there is no emotive state, but only emotions. When it is a question of an imaginary film everything is much more complicated. The relation with emotivity is no longer one-way, it exists in both directions at once. It exists first of all as it existed in the preceding case; the emotivity reacts to the imaginary images as it reacted to the real images (emotivity does not differentiate between these two kinds of images; a jealous man who vigorously imagines a scene in which his wife deceives him is as if the scene were real). But on the other hand the emotive state reacts to the elaboration of the imaginary film; if a real misfortune befalls me and saddens me I start imagining a thousand other misfortunes and I see everything in the same sombre light. Thus there is established a vicious circle of double reactions. But, in this relation between emotivity and imaginary film, another more important factor intervenes. The imaginary film resembles the real film to a certain extent; the films that I invent are necessarily elaborated with the elements that I have received in the past from the outside world; but there exists an essential difference between these two kinds of films. The real film is invented by the Cosmos, its source is the cosmic source, which is the Primary Cause of the Universe; therefore every real film is harmonic, balanced in the Whole. Its fixed centre is the Noumenon, and there could not be in this film any phenomenal fixity, it is only pure movement. On the contrary the imaginary film is centred on my Ego, on 'myself pretending to be absolutely a distinct individual'; its source, its centre, is not the immutable noumenal centre of the Cosmos, but a false, ex-centric centre. And there is, in this film, at the same time as a continual movement, a certain phenomenal fixity derived from this phenomenal centre. This is revealed by the fact that my day-dreams, if they are made of moving images, are made of images which turn ever more and more round a fixed idea; they are always more or less obsessional. My imaginary scenarios are organised in constellations or complexes, artificially coherent outside the cosmic Whole. To this phenomenal fixity corresponds a fixity in the emotive reaction, an emotive spasm, an emotive state. The emotive reaction to the real film (a reaction which comprises no element of fixity) is normal or healthy, since it is reaction to the normal relative reality of cosmic phenomena. The emotive reaction to the imaginary film (which always comprises a factor of spasm) is abnormal or unhealthy; it 139
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Inner Traditions International One
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XIX. XX. XXI. XXII. XXIII. XXIV. CO
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FOREWORD statistical normality is o
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AUTHOR’S PREFACE THIS book contai
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PREFACE we understand intuitively t
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PREFACE wander among all the formal
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ON THE GENERAL SENSE OF ZEN THOUGHT
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ON THE GENERAL SENSE OF ZEN THOUGHT
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Chap pter Twwo ‘G GOOD’ AND W W
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‘GOOD’ AND ‘EVIL’ year of m
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‘GOOD’ AND ‘EVIL’ sets abou
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‘GOOD’ AND ‘EVIL’ reciproca
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‘GOOD’ AND ‘EVIL’ partialit
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THE IDOLATRY OF ‘SALVATION’ bel
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Chapter Four THE EXISTENTIALISM OF
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THE EXISTENTIALISM OF ZEN Zen liter
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THE EXISTENTIALISM OF ZEN genital a
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THE EXISTENTIALISM OF ZEN The error
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THE EXISTENTIALISM OF ZEN vegetativ
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Chapter Five THE MECHANISM OF ANXIE
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THE MECHANISM OF ANXIETY He is like
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THE MECHANISM OF ANXIETY (B) COMPLE
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THE MECHANISM OF ANXIETY live side
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THE MECHANISM OF ANXIETY unconcilia
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THE MECHANISM OF ANXIETY abstract p
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THE MECHANISM OF ANXIETY tugging of
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THE MECHANISM OF ANXIETY with a dep
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THE FIVE MODES OF THOUGHT The thoug
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THE FIVE MODES OF THOUGHT disappear
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THE FIVE MODES OF THOUGHT relaxed,
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THE FIVE MODES OF THOUGHT insulated
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THE FIVE MODES OF THOUGHT speaking,
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THE FIVE MODES OF THOUGHT central u
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THE FIVE MODES OF THOUGHT function,
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Chapter Seven LIBERTY AS ‘TOTAL D
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LIBERTY AS ‘TOTAL DETERMINISM’
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LIBERTY AS ‘TOTAL DETERMINISM’
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THE EGOTISTICAL STATES 1. APPARENT
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THE EGOTISTICAL STATES realisation
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THE ZEN UNCONSCIOUS The profound pl
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THE ZEN UNCONSCIOUS and not in the
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THE ZEN UNCONSCIOUS (Consider a man
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Page 91 and 92: Chapter Eleven SEEING INTO ONE’S
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Page 103 and 104: Chapter Twelve HOW TO CONCEIVE THE
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Page 121 and 122: Chapter Fourteen EMOTION AND THE EM
Page 123 and 124: EMOTION AND THE EMOTIVE STATE regre
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Page 149 and 150: ON AFFECTIVITY Since I now conceive
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Page 155 and 156: Chapter Seventeen THE HORSEMAN AND
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Page 163 and 164: Chapter Eighteen THE PRIMORDIAL ERR
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Page 171 and 172: Chapter Nineteen THE IMMEDIATE PRES
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Page 177 and 178: Chapter Twenty PASSIVITY OF THE MIN
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PASSIVITY OF THE MIND the mobilisat
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PASSIVITY OF THE MIND spontaneously
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ON THE IDEA OF ‘DISCIPLINE’ lar
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ON THE IDEA OF ‘DISCIPLINE’ dis
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ON THE IDEA OF ‘DISCIPLINE’ ene
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ON THE IDEA OF ‘DISCIPLINE’ lon
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ON THE IDEA OF ‘DISCIPLINE’ one
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ON THE IDEA OF ‘DISCIPLINE’ tha
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ON THE IDEA OF ‘DISCIPLINE’ of
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THE COMPENSATIONS perceptions—fro
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THE COMPENSATIONS of satori assumes
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Let-go, leave things as they may be
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THE COMPENSATIONS nourishing it, an
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THE COMPENSATIONS compensations tha
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THE COMPENSATIONS anything. He no l
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THE COMPENSATIONS holiness', the 'l
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THE INNER ALCHEMY of the Middle-Age
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THE INNER ALCHEMY perfect humility,
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THE INNER ALCCHEMY capable e of see
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THE INNER ALCHEMY not in a satisfyi
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THE INNER ALCHEMY In this ignorance
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Chapter Twenty-Four ON HUMILITY WE
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ON HUMILITY whole with impartiality
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ON HUMILITY true well-being is to b
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EPILOGUE CERTAIN readers of this wo
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EPILOGUE in accordance with my stru
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