The Supreme Doctrine - neo-alchemist

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
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