The Law and the Word by Thomas Troward online

V THE SOUL OF THE SUBJECT

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It is an established fact of ordinary science that, however closely particles of any substance may seem to cohere, they are in reality separated by interstices through which etheric waves can penetrate.

The principle may be illustrated by the power of the X-rays to penetrate apparently solid bodies, such as iron. Then, if we combine with this the fact, that there is no limit to the minuteness of etheric waves, we see that however fine may be the particles constituting any form, it is always possible to have etheric waves still finer and thus able to penetrate that form and set up vibrations in it. It is our familiarity with the denser modes of matter that makes it difficult for us to grasp the idea of these finer activities; but there is nothing in what we know of the denser modes to contradict the conception; on the contrary, it is just by what we have learned of these denser modes that we reach the principles on which these further conceptions are founded. Looking at this, therefore, in the light of a mathematical proposition, there is absolutely no limit to the fineness of any form, or to its susceptibilities to etheric vibrations.

Finally, to this add the power of the Word to start trains of etheric vibration, and you get the following series: The Word starts the etheric waves; these waves produce corresponding vibration in the soul of the subject; and the soul of the subject in turn communicates corresponding vibration to its body. We may thus explain the Creative Power of Thought on the basis of recognizable Law, and so we believe, because we know _why_ we believe, not because somebody else has told us so. Doubt is still the creative action of Thought, only it is creating negatively; so it is helpful to feel that we have some reason for confidence in the Power of the Word. There are a great many "Thomases" among us, and as one of the number I shall be glad if I can help my "Brother Tommies" to get a grip of the why and wherefore of the things which appear at first sight so fantastic and improbable.

But the conception we are considering is not limited to concrete entities, whether persons or things. It applies to abstractions also, and it is for this reason that I have called it the "Soul of the Subject." We often speak of the "Soul of Music," or the "Soul of Poetry," and so on. Thus our ordinary talk stands on the threshold of a great mystery, which, however, is simple enough in practice. If you want to get a clearer view of any subject than you have at present, address yourself mentally to the abstract soul of that subject, and ask it to tell you about itself, and you will find that it will do so. I do not say that it will do this in any miraculous manner, but what you already know of the subject will range itself into a clearer order, and you will see connections that have not previously occurred to you. Then again, you will find that information of the class required will begin to flow towards you through quite ordinary channels, books, newspapers, or conversation, without your especially laying yourself out to hunt for it; and again, at other times, ideas will come into your mind, you do not know how, but illuminating the subject with a fresh light. I cannot explain how all this takes place. I can only say from personal experience that it happens. But of course we must not throw aside ordinary common-sense. We must sort out the information that comes to us, and compare it with our previous knowledge; in fact we must _work_ at it: there is no premium for laziness. Nor must we expect to receive by a sudden afflatus a complete acquaintance with some subject of which we are entirely ignorant. I do not say that such a thing is altogether impossible, for I cannot venture to limit the possibilities of the Universe; but it is certainly not to be looked for in the ordinary course. I have sometimes been shown specimens of "inspirational painting" done by persons said to be entirely ignorant of art, and the ignorance is very apparent on the face of the work. I dare say an artist may be inspired in the production of a picture, but the technical training comes first, and the inspiration afterwards. The same I believe to be true of all other subjects, so that we come back to the maxim of the power always expressing itself in terms of the instrument through which it works. With this reservation, however, it appears to me, that every class of subject has a sort of soul of its own with which we can put ourselves _en rapport_ by, so to say, mentally unifying our own personality with its abstract principle.

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