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The Dore Lectures on Mental Science

by Thomas Troward

July, 1998  [Etext #1398]


Project Gutenberg Etext of The Dore' Lectures on Mental Science
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Dore Lectures on Mental Science, by Thomas Troward
THE DORE LECTURES ON MENTAL SCIENCE

by Thomas Troward




ENTERING INTO THE SPIRIT OF IT
INDIVIDUALITY
THE NEW THOUGHT AND THE NEW ORDER
THE LIPS OF THE SPIRIT
ALPHA AND OMEGA
THE CREATIVE POWER OF THOUGHT
THE GREAT AFFIRMATIVE
CHRIST THE FULFILLING OF THE LAW
THE STORY OF EDEN
THE WORSHIP OF ISHI
THE SHEPHERD AND THE STONE
SALVATION IS OF THE JEWS


FOREWORD.

The addresses contained in this volume were delivered by me at
the Dore Gallery, Bond Street, London, on the Sundays of the
first three months of the present year, and are now published at
the kind request of many of my hearers, hence their title of "The
Dore Lectures." A number of separate discourses on a variety of
subjects necessarily labours under the disadvantage of want of
continuity, and also under that of a liability to the frequent
repetition of similar ideas and expressions, and the reader will,
I trust, pardon these defects as inherent in the circumstances of
the work. At the same time it will be found that, although not
specially so designed, there is a certain progressive development
of thought through the dozen lectures which compose this volume,
the reason for which is that they all aim at expressing the same
fundamental idea, namely that, though the laws of the universe
can never be broken, they can be made to work under special
conditions which will produce results that could not be produced
under the conditions spontaneously provided by nature. This is a
simple scientific principle and it shows us the place which is
occupied by the personal factor, that, namely, of an intelligence
which sees beyond the present limited manifestation of the Law
into its real essence, and which thus constitutes the
instru-mentality by which the infinite possibilities of the Law
can be evoked into forms of power, usefulness, and beauty.

The more perfect, therefore, the working of the personal factor,
the greater will be the results developed from the Universal Law;
and hence our lines of study should be two-fold--on the one hand
the theoretical study of the action of Universal Law, and on the
other the practical fitting of ourselves to make use of it; and
if the present volume should assist any reader in this two-fold
quest, it will have answered its purpose.

The different subjects have necessarily been treated very
briefly, and the addresses can only be considered as suggestions
for lines of thought which the reader will be able to work out
for himself, and he must therefore not expect that careful
elabora-tion of detail which I would gladly have bestowed had I
been writing on one of these subjects exclusively. This little
book must be taken only for what it is, the record of somewhat
fragmentary talks with a very indulgent audience, to whom I
gratefully dedicate the volume.

JUNE 5, 1909.

T.T.



THE DORE LECTURES



ENTERING INTO THE SPIRIT OF IT.

We all know the meaning of this phrase in our everyday life. The
Spirit is that which gives life and movement to anything, in fact
it is that which causes it to exist at all. The thought of the
author, the impression of the painter, the feeling of the
musician, is that without which their works could never have come
into being, and so it is only as we enter into the IDEA which
gives rise to the work, that we can derive all the enjoyment and
benefit from it which it is able to bestow. If we cannot enter
into the Spirit of it, the book, the picture, the music, are
meaningless to us: to appreciate them we must share the mental
attitude of their creator. This is a universal principle; if we
do not enter into the Spirit of a thing, it is dead so far as we
are concerned; but if we do enter into it we reproduce in
ourselves the same quality of life which called that thing into
existence.

Now if this is a general principle, why can we not carry it to a
higher range of things? Why not to the highest point of all? May
we not enter into the originating Spirit of Life itself, and so
reproduce it in ourselves as a perennial spring of livingness?
This, surely, is a question worthy of our careful consideration.

The spirit of a thing is that which is the source of its inherent
movement, and therefore the question before us is, what is the
nature of the primal moving power, which is at the back of the
endless array of life which we see around us, our own life
included? Science gives us ample ground for saying that it is not
material, for science has now, at least theoretically, reduced
all material things to a primary ether, universally distributed,
whose innumerable particles are in absolute equilibrium; whence
it follows on mathematical grounds alone that the initial
movement which began to concentrate the world and all material
substances out of the particles of the dispersed ether, could not
have originated in the particles themselves. Thus by a necessary
deduction from the conclusions of physical science, we are
compelled to realize the presence of some immaterial power
capable of separating off certain specific areas for the display
of cosmic activity, and then building up a material universe with
all its inhabitants by an orderly sequence of evolution, in which
each stage lays the foundation for the development of the stage,
which is to follow--in a word we find ourselves brought face to
face with a power which exhibits on a stupendous scale, the
faculties of selection and adaptation of means to ends, and thus
distributes energy and life in accordance with a recognizable
scheme of cosmic progression. It is therefore not only Life, but
also Intelligence, and Life guided by Intelligence becomes
Volition. It is this primary originating power which we mean when
we speak of "The Spirit," and it is into this Spirit of the whole
universe that we must enter if we would reproduce it as a spring
of Original Life in ourselves.

Now in the case of the productions of artistic genius we know
that we must enter into the movement of the creative mind of the
artist, before we can realize the principle which gives rise to
his work. We must learn to partake of the feeling, to find
expression for which is the motive of his creative activity. May
we not apply the same principle to the Greater Creative Mind with
which we are seeking to deal? There is something in the work of
the artist which is akin to that of original creation. His work,
literary, musical, or graphic is original creation on a miniature
scale, and in this it differs from that of the engineer, which is
constructive, or that of the scientist which is analytical; for
the artist in a sense creates something out of nothing, and
therefore starts from the stand-point of simple feeling, and not
from that of a pre-existing necessity. This, by the hypothesis of
the case, is true also of the Parent Mind, for at the stage where
the