BUT otherwise, apart from this division, all activities of knowledge that seek after or express Truth are in themselves rightful material for a complete offering; none ought necessarily to be excluded from the wide framework of the divine life. The mental and physical sciences which examine into the laws and forms and processes of things, those which concern the life of men and animals, the social, political, linguistic, historical and those which seek to know and control the labours and activities by which man subdues and utiIises his world and environment, and the noble and beautiful Arts which are at once work and knowledge,-for every well-made and significant poem, picture, statue, or building is an act of creative knowledge, a living discovery of the consciousness, a figure of Truth, a dynamic form of mental and vital self-expression or world-expression,-all that seeks, all that finds, all that voices or figures is a realization of something of the play of the Infinite and to that extent can be made a means of God realization or of divine formation. But the Yogin has to see that it is no longer done as a part of an ignorant mental life; it can be accepted by him only if by the feeling, the remembrance, the dedication within it, it is turned into a movement of the spiritual consciousness and becomes a part of its vast grasp of comprehensive illuminating knowledge.

For all must be done as a sacrifice, all activities must have the One Divine for their object and the heart of their meaning. The Yogin's aim in the sciences that make for knowledge should be to discover and understand the workings of the Divine Consciousness-Puissance in man and creatures and things and forces, her creative significances, her execution of the mysteries, the symbols in which she arranges the manifestation. The Yogin's aim in the practical sciences, whether physical or occult and psychic, should be to enter into the ways of the Divine and his processes, to know the materials and means for the work given to us so that we may use that  knowledge for a conscious and faultless expression of the spirit's mastery, joy and self-fulfilment. The Yogin's aim in the Arts should not be a mere aesthetic, mental or vital gratification, but, seeing the Divine everywhere, worshipping it with a revelation of the meaning of its works, to express  that One Divine in Gods and men and creatures and objects. The theory that sees an intimate connection between religious aspiration and the truest and greatest Art is in essence right; but we must substitute for the mixed and doubtful religious motive a spiritual aspiration, vision, interpreting experience. For the wider and more comprehensive the seeing, the more it contains in itself the sense of the hidden Divine in humanity and in all things and rises beyond a superficial religiosity into the spiritual life, the more luminous, flexible, deep and powerful will the Art be that springs from that high motive.1

The art-creation which lays a supreme stress on reason and taste and on perfection and purity of a technique constructed in obedience to the canons of reason and taste, claimed for itself the name of classical art; but the claim, like the too trenchant distinction on which it rests, is of doubtful validity. The spirit of the real, the great classical art and poetry, is to bring out what is universal and subordinate individual expression to universal truth of beauty, just as the spirit of romantic art and poetry is to bring out what is striking and what is individual and this it often does so powerfully or with so vidid an emphasis as to throw into the background of its creation the universal, on which yet all true art romantic or classical builds and fills in its forms. In truth, all great art has carried in it both a classical and a romantic as well as a realistic element,-understanding realism in the sense the prominent bringing out of the external truth of things, not the perverse inverted romanticism of the "real" which brings into exaggerated prominence the ugly, the common or morbid and puts that forward as the whole truth of life. The type of art to which a great creative work belongs is determined by the prominence it gives to one element and the subdual of the others into subordination to its reigning spirit. But classical art also works by a large vision and inspiration, not by the process of the intellect. The lower kind of classical art and literature,-if classical it be and not rather, as it often is, pseudo-classical, intellectually imitative of the external form and process of the classical,-may achieve work of considerable, though a much lesser power, but of an essentially inferior scope and nature; for to that inlferiority it is self-condemned by its principle of intellectual construction. Almost always it speedily degenerates into the formal or academic, empty of real beauty, void of life and power, imprisoned in its salvery to form and imagining that when a certain form has been followed, certain canons of construction satisfied, certain rhetorical rules of technical principles obeyed, all has been achieved. It ceases to be art and becomes a cold and mechanical workmanship.2

1 The Synthesis of Yoga, Revised Edition, 1948, pp. 113-14.

2 The Human Cycle, "The Suprarational Beauty", Chapter XIV.