A man of original power can never be confined within the limits of a single field of interest and activity, nor can he ever be content to bear the marks and use the skill of a single occupation. He cannot pour his whole force into one channel; there is always a reserve of power beyond the demands of the work which he has in hand at the moment. Wherever he may find his place and whatever work may come to his hand, he must always be aware of the larger movement of life which incloses his special task; and he must have the consciousness of direct relation with that central power of which all activities are inadequate manifestations. To a man of this temper the whole range of human interests must remain open, and such a man can never escape the conviction that life is a unity under all its complexities; that all activities stand vitally related to each other; that truth, beauty, knowledge, and character must be harmonised and blended in every real and adequate development of the human spirit. To the growth of every flower earth, sun, and atmosphere must contribute; in the making of a man all the rich forces of nature and civilisation must have place.
In such moments the quick emotion, the sudden thrill, bear eloquent witness to that deeper and diviner life in which we all share, but of which we rarely seem aware. This perception of the presence of a man's soul comes to us when we stand before a true work of art. We not only uncover our heads, but our hearts are uncovered as well. Here is one who through all his skill speaks to us in a language which we understand, but which we rarely hear. A great work of art not only liberates the imagination, but the heart as well; for it speaks to us more intimately than our friends are able to speak, and that reticence which holds us back from perfect intercourse when we look into each other's faces vanishes. A few lines read in the solitude of the woods, or before the open fire, often kindle the emotion and imagination which slumber within us; in companionship with the greatest minds our shyness vanishes; we not only take but give with unconscious freedom.
Uncertainty breeds impatience; and in youth, before the will is firmly seated and the goal clearly seen, impatience often manifests itself in the relaxation of all forms of restraint. The richer the nature the greater the reaction which sometimes sets in at this period; the more varied and powerful the elements to be harmonised in a man's character and life, the greater the ferment and agitation which often precede the final discernment and acceptance of one's work. If the pressure of uncertainty with regard to one's gifts and their uses ought to call out patience and sympathy, so ought that experience of spiritual and intellectual agitation which often intervenes between the training for life and the process of actual living.
The "storm and stress" period is always interesting because it predicts the appearance of a new power; and men instinctively love every evidence of the greatness of the race, as they instinctively crave the disclosure of new truth. In the reaction against the monotony of formalism and of that deadly conventionalism which is the peril of every accepted method in religion, art, education, or politics, men are ready to welcome any revolt, however extravagant. Too much life is always better than too little, and the absurdities of young genius are nobler than the selfish prudence of aged sagacity.
For work speedily turns inward power into outward achievement, and so makes it possible to take accurate account of what has hitherto lain wholly within the realm of the potential. In a very deep and true sense an artist faces his own soul when he looks at his finished work. He sees a bit of himself in every book, painting, statue, or other product of his energy and skill. What was once concealed in the mystery of his own nature is set in clear light in the work of his hands; the reality or unreality of his aspirations is finally settled; the question of the possession of original power or of mere facility is answered. The worker is no longer an unknown force; he has been developed, revealed, measured, and tested.
No man is free until he can dispose of himself; until he is sought after instead of seeking; until, in the noblest sense of the words, he commands his own price in the world. There are men in every generation who push this self-development and self-mastery so far, and who obtain such a large degree of freedom in consequence, that the keys of all doors are open to them.
There is no real freedom save that which is based upon discipline. The chance to do as one pleases is not liberty, as so many people imagine; liberty involves knowledge, self-mastery, capacity for exertion, power of resistance.
The necessity of working gives society steadiness and stability; when large populations are freed from this necessity, irresponsible mobs take the place of orderly citizens, and the crowd of idlers must be fed and amused to be kept out of mischief. A man can never be idle with safety and advantage until he has been so trained by work that he makes his freedom from times and tasks more fruitful than his toil has been.
n our time the chief peril for men of imagination and the artistic temperament comes from that aloofness of temper which separates its victim from his fellows, isolates him in the very heart of society, and turns his energy inward so that he preys upon himself. The root of a great deal of that pessimism which has found expression in modern literature is found in inactivity. He who contents himself with looking at life as a spectator sees its appalling contradictions and its baffling confusions, and misses the steadying power of the common toil, the comprehension through sympathy, the slow but deep unfolding and education which come from participation in the world's work. He who approaches life only through his feelings is bruised, hurt, and finally exhausted by a strain of emotion unrelieved by thought and action. No man is sound either in vision or in judgment who holds himself apart from the work of society. Participation in that work not only liberates the inward energy which preys upon itself if repressed; it also, through human fellowship, brings warmth and love to the solitary spirit; above all, it so identifies the man with outward activities that his personal force finds free access to the world, and he is delivered from the peril of self-consciousness.
Creative men feel the necessity of many interests and of wide activities. Their natures require rich pasturage; they must be fed from many sources. They secure the skill of the specialist, but they never accept his limitations of interest and work. The clearer their vision of the unity of all forms of human action and expression, the deeper their need of studying at first hand these different forms of action and expression.
A man is at his best only when he pours out his vital energy at full tide, without thought or care for anything save complete self-expression.
He who hopes to reach the highest level of activity in work will not aim, therefore, to gain specific ends or to touch external goals of any kind; he will aim at complete self-development. His ultimate aim will be not material but spiritual; he cannot rest short of the perfect self- expression. The rewards of work--money, influence, position, fame--will be the incidents, not the ends, of his toil. He has a right to look for them and count upon them; but if he be a true workman they will never be his inspirations, nor can they ever be his highest rewards.
For a man's ultimate responsibility is met by what he is and does, not by what he gains. When he sets an exterior reward of any kind before him as the final goal of his endeavour, he breaks away from the divine order of life and destroys that deep interior harmony which ought to keep a man's spirit in time and tune with the creative element in the world.
The gifted young preacher must clearly discern the needs of his own nature or he will miss the one thing which he was probably sent into the world to accomplish, the one thing which all men are sent into the world to secure,--free and noble self-development. He must be wiser than his parish or the community; he must recognise the peril which comes from the too close pressure of near duties at the start. The community will thoughtlessly rob him of the time, the quiet, and the repose necessary for the unfolding of his spirit; it will drain him in a few years of the energy which ought to be spread over a long period of time; and at the end of a decade it will begin to say, under its breath, that its victim has not fulfilled the promise of his youth. It will fail to discern that it has blighted that promise by its own urgent demands. The young preacher who is eager to give the community the very greatest service in his power will protect it and himself by locking his study door and resolutely keeping it locked.
There are no men so interesting as those who are quietly and steadfastly following some distant aim which is invisible to others. One recognises them because they seem to be moving silently but surely onward. Skill, insight, and power steadily flow to them; and, apparently without effort, they climb step by step the steep acclivity where influence and fame abide. They are supremely interesting because, through absorption in their work, they are largely free from self-consciousness, and because they bring with them the air and stir of growth and movement. They rarely obtrude their interests or pursuits upon others, but they give the impression of a definiteness of aim which cannot be obscured or blurred, and a concentration of energy which steadily reacts in increase of power.
Mr. Gladstone's astonishing range of interests and occupations was made possible by his power of concentration. He gave himself completely to the work in hand; all his knowledge, energy, and ability were focussed on that work, so that his whole personality was brought to a point of intense light and heat, as the rays of the sun are brought to a point in a burning-glass. When the power of concentration reaches this stage of development, it liberates a man from dependence upon times, places, and conditions; it makes privacy possible in crowds, and silence accessible in tumults of sound; it withdraws a man so completely from his surroundings that he secures complete isolation as readily as if the magic carpet of the "Arabian Nights" were under him to bear him on the instant into the solitude of lonely deserts or inaccessible mountains.
The book which one reads with eyes which are continually lifted from the page may furnish entertainment for the moment, but cannot enrich the reader, because it cannot become part of his knowledge.
Here, as everywhere in the field of man's life, there enters that element of sacrifice without which no real achievement is possible. To secure a great end, one must be willing to pay a great price. The exact adjustment of achievement to sacrifice makes us aware, at every step, of the invisible spiritual order with which all men are in contact in every kind of endeavour. If the highest skill could be secured without long and painful effort it would be wasted through ignorance of its value, or misused through lack of education; but a man rarely attains great skill without undergoing a discipline of self-denial and work which gives him steadiness, restraint, and a certain kind of character. The giving up of pleasures which are wholesome, the turning aside from fields which are inviting, the steady refusal of invitations and claims which one would be glad to accept or recognise, invest the power of concentration with moral quality, and throw a searching light on the nature of all genuine success.
Work is energy intelligently put forth; and intelligence in work depends largely upon keeping the whole nature in close and constant relation with all the sources of power. To be always doing something is to be as useless for the higher purposes of growth and influence as to be always idle; one can do nothing with a great show of energy, and one can do much with very little apparent effort.
The more one can gain in his passive moods, the more will he have to give in his active moods; for the greater the range of one's thought, the truer one's insight, and the deeper one's force of imagination, the more will one's skill express and convey.
Earlier thinkers and writers on education had seen that play is an important element in the unfolding of a child's nature, but Froebel discerned the psychology of play and showed how it may be utilised for educational purposes. His comments on this subject are full of significance: "The plays of the child contain the germ of the whole life that is to follow; for the man develops and manifests himself in play, and reveals the noblest aptitudes and the deepest elements of his being. ...The plays of childhood are the germinal leaves of all later life; for the whole man is developed and shown in these, in his tenderest dispositions, in his innermost tendencies." And one of Froebel's most intimate associates suggests another service of play, when he says: "It is like a fresh bath for the human soul when we dare to be children again with children." Play is the prelude to work, and stands in closest relation to it; it is the natural expression of the child's energy, as work is the natural expression of the man's energy. In play and through play the child develops the power that is in him, comes to knowledge of himself, and realises his relation with other children and with the world about him. In the free and unconscious pouring out of his vitality he secures for himself training, education, and growth.
Now, play is as much a need of the man's nature as of the boy's, and if work is to keep its freshness of interest, its spontaneity, and its productiveness, it must retain the characteristics of play; it must have variety, unconsciousness of self, joy. Activity it cannot lose, but joy too often goes out of it. The fatal tendency to deadness, born of routine and repetition, overtakes the worker long before his force is spent, and blights his work by sapping its vitality. Real work always sinks its roots deep in a man's nature, and derives its life from the life of the man; when the vitality of the worker begins to subside, through fatigue, exhaustion of impulse, or loss of interest, the work ceases to be original, vital, and genuine. Whatever impairs the worker's vitality impairs his work.
The highest productivity will never be secured until the duty of recreation is set on the same plane with that of work, and the obligation to nourish one's life made as binding as the obligation to spend one's life.
Any pursuit or occupation which takes a man out of the atmosphere of his work-room and away from his work, gives him different interests, calls into activity different muscles or faculties, brings back the spirit of play, recalls the spontaneous and joyous mood, and re-creates through diversion, variety, and the appeal to another side of the nature. To work long and with cumulative power, one must play often and honestly; that is to say, one must play for the pure joy of it.
It is significant that the most original and capacious minds, like the most powerful bodies, often betray noticeable awkwardness at the start; they need prolonged exercise in order to secure freedom of movement; they must have time for growth. Minds of a certain superficial brilliancy, on the other hand, often mature early because they have so little depth and range. To be awkward in taking hold of one's work is not, therefore, a thing to be regretted; as a rule it is a piece of good fortune.
The development of one's personality cannot be accomplished in isolation or solitude; the process involves close and enduring association with one's fellows. If work were purely a matter of mechanical skill, each worker might have his cell and perform his task, as in a prison. But work involves the entire personality, and the personality finds its complete unfolding, not in detachment, but in association. Talent, says Goethe, thrives in solitude, but character grows in the stream of the world. It is a twofold discovery which a man must make before the highest kind of success lies within his grasp: the discovery of his own individual gift, force, or aptitude, and the discovery of his place in society.
Individual teachers have often understood the place and function of the imagination, and have sought to liberate and enrich it by intelligently planned study; but the schools of most, if not of all, times have treated it as a wayward and disorderly gift, not amenable to discipline and training, and of very doubtful value. There has always been, in every highly civilised society, a good deal that has appealed to this divinest of all the gifts with which men have been endowed; there have been periods in which the imagination has been stirred to its depths by the force of human energy and the play and splendour of human experience and achievement; but there has never yet been adequate recognition of its place in the life of the individual and of society, nor intelligent provision for its education.
We begin with the imagination; it holds its light over the play of childhood; it is the master of the revels, the enchantments, and the dreams of youth; it must be also the inspiration of all toil and the shaping genius of all work.
The first stage in the education of the true worker is self-conscious; the final stage is self-forgetful. No man can enter the final stage without passing through the initial stage; no man can enter the final stage without leaving the initial stage behind him. One must first develop intense self-consciousness, and then one must be able to forget and obliterate himself. One must first accept the most exacting discipline of the school, and then one must forget that schools exist.
This ability to transform skill into character, to make instinct do the work of intelligence, to pass from intense self-consciousness into self- forgetfulness, is the supreme test to which every artist must subject himself let him sustain this test and his place is secure. To find one's life in the deepest sense, to bring out and express one's personality, a man must lose that life; that is to say, he must have the power of entire self-surrender. When the inspiration comes, as it does come to all creative spirits, a man must be able to surrender himself to it completely. When the hour of vision arrives the prophet has no time or thought to waste on himself; if he is to speak, he must listen with intense and utter stillness of soul.
That which is true of the master worker, the artist, is true of all lesser workers: the highest efficiency is conditioned on the ability to forget oneself. Self-consciousness is the most serious and painful limitation of many men and women of genuine capacity and power. It rests like a heavy load on shoulders which ought to be free; it is an impediment of speech when speech ought to have entire spontaneity, and freedom. This intense consciousness of self, although always revealing a certain amount of egoism, is often devoid of egotism; it is, in many cases, a sign of diffidence and essential modesty. It is the burden and limitation of those especially who have high aims and standards, but who distrust their own ability to do well the things they are eager to do. To be self-conscious is to waste a great deal of force which ought to go into work; it is to put into introspection the vitality which ought to issue in some form of expression.
The master worker learns that the secret of happiness is the opportunity and the ability to express nobly whatever is deepest in his personality, and that supreme good fortune comes to him who can lose himself in some generous and adequate task.
No comments:
Post a Comment