Practise Makes A Man Perfect Quotes

Any interest in Yoga, in miracles or psychic powers, not based on that humbleness of the soul which is the beginning and the end of all true spiritual light and love is at its best something of scientific interest, and at its worst it is that pride and desire for power which are the surest signs of spiritual darkness. Let us take an interesting psychological experiment: thought-transmission or thought-reading [.......] The person in deep sleep reads accurately what is written, and when the same experiment is repeated with success several times with different words and numbers not the slightest doubt is left in the mind of the operator that thought-transmission, or thought-reading, is a fact. And when he hears long arguments to the contrary by those who of course have not practised the experiment he cannot but smile. Well, what does the experiment prove? Only that, to quote Hamlet again, There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy. But supposing that after this experiment we could attain all the psychic powers promised in Yoga, does this mean that we have advanced a single step on the spiritual path? Of course not. We have learnt something of amazing psychological interest; but we have not advanced on the path of love. We may even have gone backwards if the slightest pride or self-satisfaction has infected our mind. Those who rely on physical miracles to prove the truth of spiritual things forget the ever-present miracle of the universe and of our own lives. The lover of the physical miracle is in fact a materialist: instead of making material things spiritual, as the poet or the spiritual man does, he simply makes spiritual things material, and this is the source of all idolatry and superstition. Leaving aside the question that matter and spirit may simply be 'different modes, or degrees in perfection, of a common substractum ', as Coleridge says, and the Upanishads suggest, there is the far greater question that in everything spiritual there is an element of beauty which is truth, and which we find in faith, but which is lacking in fanaticism and superstition.

We here meet a completely new conception of art; it is no longer a means towards an end, but an end in itself. At its origin, every form of spiritual endeavour is entirely determined by the useful purpose it serves, but such forms have the power and tendency to break free from their original purpose and make themselves independent; they become purposeless and to some extent autonomous. As soon as man feels secure and free from the immediate pressure of the struggle for life, he begins to play with the spiritual resources which he had originally developed as weapons and tools to aid him in his necessity. He begins enquiring into causes, seeking for explanations, researching into connections which have little or nothing to do with his struggle for life. Practical knowledge gives place to free enquiry, means for the mastery of nature become methods for discovering abstract truth. And thus art, originally a mere handmaid of magic and ritual, an instrument of propaganda and panegyric, a means to influence gods, spirits and men, becomes a pure, autonomous, ‘disinterested’ activity to some extent, practised for its own sake and for the beauty it reveals. In the same way, the commands and prohibitions, the duties and taboos, which were originally just expedients to make a common life in society possible, give rise to a doctrine of ethics that sets out to realize and perfect the moral personality. The Greeks were the first people to complete this transition from the instrumental to the ‘autonomous’ form of activity, whether in science, art or morality. Before them there was no free enquiry, no theoretical research, no rational knowledge and no art as we understand art—as an activity whose creations may always be considered and enjoyed as pure forms. This abandonment of the old view that art is only valuable and intelligible as a weapon in the struggle for life, in favour of a new attitude which treats it as mere play of line and colour, mere rhythm and harmony, mere imitation or interpretation of reality—this is the most tremendous change that has ever occurred in the whole history of art.

There is a certain grief in things as they are, in man as he has come to be, as he certainly is, over and above those griefs of circumstance which are in a measure removable—some inexplicable shortcoming, or misadventure, on the part of nature itself—death, and old age as it must needs be, and that watching for their approach, which makes every stage of life like a dying over and over again. Almost all death is painful, and in every thing that comes to an end a touch of death, and therefore of wretched coldness struck home to one, of remorse, of loss and parting, of outraged attachments. Given faultless men and women, given a perfect state of society which should have no need to practise on men’s susceptibilities for its own selfish ends, adding one turn more to the wheel of the great rack for its own interest or amusement, there would still be this evil in the world, of a certain necessary sorrow and desolation, felt, just in proportion to the moral, or nervous perfection men have attained to. And what we need in the world, over against that, is a certain permanent and general power of compassion—humanity’s standing force of self-pity—as an elementary ingredient of our social atmosphere, if we are to live in it at all. I wonder, sometimes, in what way man has cajoled himself into the bearing of his burden thus far, seeing how every step in the capacity of apprehension his labour has won for him, from age to age, must needs increase his dejection. It is as if the increase of knowledge were but an increasing revelation of the radical hopelessness of his position: and I would that there were one even as I, behind this vain show of things!