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ContentsChapter 1: The End of a Golden String . 4Chapter 2: The Four Mighty Ones . 8Chapter 3: The Gift of Faith . 27Chapter 4: The Scale of Being . 40Chapter 5: The Game of Life . 54Chapter 6: Times, Time, & A Half . 66Chapter 7: Be Ye Wise As Serpents . 74
Chapter 1: The End of a Golden String“I give you the end of a golden string; Onlywind it into a ball, It will lead you in atHeaven's gate, Built in Jerusalem's wall.”William Blake.In the following essays I have tried toindicate certain ways of approach to theunderstanding ofthe Bibleand therealization of your dreams."That ye be not slothful, but followers ofthem who through faith and patience inheritthe promises." Hebrews 6:12.Many who enjoy the old familiar verses ofScripture are discouraged when theythemselves try to read the Bible as theywould any other book because, quiteexcusably, they do not understand that the
Bible is written in the language ofsymbolism. Not knowing that all of itscharacters are personifications of the lawsand functions of mind; that the Bible ispsychology rather than history, they puzzletheir brains over it for awhile and then giveup. It is all too mystifying. To understandthe significance of its imagery, the reader ofthe Bible must be imaginatively awake.According to the Scriptures, we sleep withAdam and wake with Christ. That is, wesleep collectively and wake individually."And the Lord God caused a deep sleep tofall upon Adam, and he slept." Genesis2:21.If Adam, or generic man, is in a deep sleep,then his experiences as recorded in theScriptures must be a dream. Only he who
is awake can tell his dream, and only hewouldunderstandthesymbolismofdreams can interpret the dream."And they said one to another, Did not ourheart burn within us, while He talked withus by the way, and while He opened to usthe Scriptures?" Luke 24:32.The Bible is a revelation of the laws andfunctionsofMindexpressedinthelanguage of that twilight realm into whichwe go when we sleep. Because thesymbolical language of this twilight realm ismuch the same for all men, the recentexplorers of this realm - human imagination- call it the "collective unconscious."The purpose of this book, however, is notto give you a complete definition of Biblicalsymbols or exhaustive interpretations of its
stories. All I hope to have done is to haveindicated the way in which you are mostlikely to succeed in realizing your desires."What things soever ye desire" can beobtained only through the conscious,voluntary exercise of imagination in directobedience to the laws of Mind. Somewherewithin this realm of imagination there is amood, a feeling of the wish fulfilled which,if appropriated, means success to you. Thisrealm, this Eden - your imagination - isvasterthanyouknowandrepaysexploration. "I Give you the end of a goldenstring;" You must wind it into a ball.
Chapter 2: The Four Mighty Ones"And a river went out of Eden to water thegarden; and from thence it was parted, andbecame into four heads." Genesis 2:10."And every one had four faces." Ezekiel10:14."I see four men loose, walking in the midstof the fire, and they have no hurt; and theform of the fourth is like the Son of God."Daniel 3:25."Four Mighty Ones are in every man."Blake.The "Four Mighty Ones" constitute the selfhood of man, or God in man. There are"Four Mighty Ones" in every man, but these"Four Mighty Ones" are not four separatebeings, separated one from the other as
are the fingers of his hand. The "FourMighty Ones" are four different aspects ofhis mind, and differ from one another infunction and character without being fourseparate selves inhabiting one man's body.The "Four Mighty Ones" may be equatedwiththefourHebrewcharacters:(characters here) which form the fourlettered mystery name of the CreativePower from and combining within itself thepast, present and future forms of the verb"to be." The Tetragrammaton is revered asthe symbol of the Creative Power in man I AM - the creative four functions in manreaching forth to realize in actual materialphenomena qualities latent in Itself.We can best understand the "Four MightyOnes" by comparing them to the four most
important characters in the production of aplay."All the world's a stage, And all the men andwomen merely players; They have theirexits and their entrances; And one man inhis time plays many parts " As You Like ItAct II, Scene VII.The producer, the author, the director andthe actor are the four most importantcharacters in the production of a play. In thedrama of life, the producer's function is tosuggest the theme of a play. This he doesin the form of a wish, such as, "I wish I weresuccessful"; "I wish I could take a trip"; "Iwish I were married:, and so on. But toappear on the world's stage, these generalthemes must somehow be specified andworked out in detail. It is not enough to say,
"I wish I were successful" that is too vague.Successful at what? However, the first"Mighty One" only suggests a theme.The dramatization of the theme is left to theoriginality of the second "Might One", theauthor. In dramatizing the theme, theauthor writes only the last scene of the play- but this scene he writes in detail. Thescene must dramatize the wish fulfilled. Hementally constructs as life-like a scene aspossible of what he would experience hadhe realized his wish. When the scene isclearly visualized, the author's work isdone.The third "Mighty One" in the production oflife's play is the director. The director'stasks are to see that the actor remainsfaithful to the script and to rehearse him
over and over again until he is natural in thepart. This function may be likened to acontrolledandconsciouslydirectedattention - an attention focused exclusivelyon the action which implies that the wish isalready realized."The form of the Fourth is like the Son ofGod" - human imagination, the actor. Thisfourth"MightyOne"performswithinhimself, in imagination, the pre-determinedaction which implies the fulfillment of thewish. This function does not visualize orobserve the action. This function actuallyenacts the drama, and does it over andover again until it takes on the tones ofreality. Without the dramatized vision offulfilled desire, the theme remains a meretheme and sleeps forever in the vastchambers of unborn themes. Nor without
the co-operant attention, obedient to thedramatized vision of fulfilled desire, will thevision perceived attain objective reality.The "Four Mighty Ones" are the fourquarters of the human soul. The first isJehovah's King, who suggests the theme;the second is Jehovah's servant, whofaithfully works out the theme in a dramaticvision; the third is Jehovah's man, who wasattentive and obedient to the vision offulfilled desire, who brings the wanderingimagination back to the script "seventytimes seven". The "Form of the Fourth" isJehovahhimself,whoenactsthedramatized theme on the stage of the mind."Let this mind be in you, which was also inChrist Jesus: Who, being in the form ofGod, thought it not robbery to be equal with
God: " Philippians 2:5,6.The drama of life is a joint effort of the fourquarters of the human soul."All that you behold, tho' it appears without,it is within, in your imagination, of which thisworld of mortality is but a shadow." Blake.All that we behold is a visual constructioncontrived to express a theme - a themewhich has been dramatized, rehearsed andperformedelsewhere.Whatwearewitnessing on the stage of the world is anoptical construction devised to express thethemes which have been dramatized,rehearsedandperformedintheimagination of men.The "Four Mighty Ones" constitute the Selfhood of man, or God in man: and all that
man beholds, tho' it appears without, arebut shadows cast upon the screen of space- optical constructions contrived by Selfhood to inform him in regard to the themeswhich he has conceived, dramatized,rehearsed and performed within himself."The creature was made subject untovanity" that he may become conscious ofSelf hood and its functions, for withconsciousness of Self hood and itsfunctions, he can act to a purpose; he canhave a consciously self-determined history.Withoutconsciousness,heactsunconsciously, and cries to an objectiveGod to save him from his own creation."O Lord, how long shall I cry, and Thou wiltnot hear! Even cry out unto Thee ofviolence,andThouwiltnotsave!"
Habakkuk 1:2.When man discovers that life is a playwhich he, himself, is consciously orunconsciously writing, he will cease fromthe blind, self-torture of executing judgmentupon others. Instead, he will rewrite theplay to conform to his ideal, for he willrealize that all changes in the play mustcome from the cooperation of the "FourMighty Ones" within himself. They alonecan alter the script and produce thechange.All the men and women in his world aremerely players and are as helpless tochange his play as are the players on thescreen of the theatre to change the picture.The desired change must be conceived,dramatized, rehearsed and performed in
the theatre of his mind. When the fourthfunction, the imagination, has completed itstask of rehearsing the revised version ofthe play until it is natural, then the curtainwill rise upon this so seemingly solid worldand the "Mighty Four" will cast a shadow ofthe real play upon the screen of space.Men and women will automatically playtheir parts to bring about the fulfillment ofthe dramatized theme. The players, byreason of their various parts in the world'sdrama, become relevant to the individual'sdramatized theme and, because relevant,are drawn into his drama. They will playtheir parts, faithfully believing all the whilethat it was they themselves who initiatedthe parts they play. This they do because:"Thou, Father, art in me, and I in thee, I inthem, and thou in me." John 17:21, 23.
I am involved in mankind. We are one. Weare all playing the four parts of producer,author, director and actor in the drama oflife. Some of us are doing it consciously,others unconsciously. It is necessary thatwe do it consciously. Only in this way canwe be certain of a perfect ending to ourplay. Then we shall understand why wemust become conscious of the fourfunctions of the one God within ourselvesthat may have the companionship of Godas His Sons."Man should not stay a man: His aimshould higher be. For God will only godsAccept as company." Angelus Silesius.In January of 1946, I took my wife and littledaughter to Barbados in the British WestIndies for a holiday. Not knowing there
were any difficulties in getting a returnpassage, I had not booked ours beforeleaving New York. Upon our arrival inBarbados I discovered that there were onlytwo ships serving the islands, one fromBoston and one from New York. I was toldthere was no available space on either shipbefore September. As I had commitmentsin New York for the first week in May, I putmy name on the long waiting list for theApril sailing.A few days later, the ship from New Yorkwas anchored in the harbor. I observed itvery carefully, and decided that this was theship we should take. I returned to my hoteland determined on an inner action thatwould be mine were we actually sailing onthat ship. I settled down in an easy chair inmy bedroom, to lose myself in this
imaginative action.In Barbados, we take a motor launch or rowboat out into the deep harbor when weembark on a large steamer. I knew I mustcatch the feeling that we were sailing onthat ship. I chose the inner action ofstepping from the tender and climbing upthe gangplank of the steamer. The first timeI tried, my attention wandered after I hadreached the top of the gangplank. I broughtmyself back down, and tried again andagain. I do not recall how many times Icarried out this action in my imaginationuntil I reached the deck and looked back atthe port with the feeling of sweet sadnessat departing. I was happy to be returning tomy home in New York, but nostalgic insaying goodbye to the lovely island and ourfamily and friends. I do recall that in one of
my many attempts at walking up thegangplank in the feeling that I was sailing, Ifell asleep. After I awoke, I went about theusual social activities of the day andevening.The following morning, I received a callfrom the steamship company requestingme to come down to their office and pick upour tickets for the April sailing. I was curiousto know why Barbados had been chosen toreceive the cancellation and why I, at theend of the long waiting list, was to have thereservation, but all that the agent could tellme was that a cable had been received thatmorning from New York, offering passagefor three. I was not the first the agent hadcalled, But for reasons she could notexplain, those she had called said that nowthey found it inconvenient to sail in April.
We sailed on April 20th and arrived in NewYork on the morning of May the first.In the production of my play - the sailing ona boat that would bring me to New York bythe first of May - I played the four mostimportant characters in my drama. As theproducer, I decided to sail on a specific shipat a certain time. Playing the part of theauthor, I wrote the script - I visualized theinner action which conformed to the outeraction I would take if my desire wererealized. As the director, I rehearsedmyself, the actor, in that imagined action ofclimbing the gangplank until that action feltcompletely natural.This being done, events and people movedswiftly to conform, in the outer world, to theplay I had constructed and enacted in my
imagination."I saw the mystic vision flow And live in menand woods and streams. Until I could nolonger know The stream of life from my owndreams." George William Russell (AE).I told this story to an audience of mine inSan Francisco, and a lady in the audiencetold me how she had unconsciously usedthe same technique, when she was ayoung girl.The incident occurred on Christmas Eve.She was feeling very sad and tired andsorry for herself. Her father, whom sheadored, had died suddenly. Not only didshe feel this loss at the Christmas season,but necessity had forced her to give up herplanned college years and go to work. Thisrainy Christmas Eve she was riding home
on a San Diego street car. The car wasfilled with gay chatter of happy youngpeople home for the holidays. To hide hertears from those round about her, shestood on the open part at the front of thecar and turned her face into the skies tomingle her tears with the rain. With hereyes closed, and holding the rail of the carfirmly, this is what she said to herself: "Thisis not the salt of the tears that I taste, butthe salt of the sea in the wind. This is notSan Diego, this is the South Pacific and Iam sailing into the Bay of Samoa". Andlookingup,inherimagination,sheconstructed what she imagined to be theSouthern Cross. She lost herself in thiscontemplation so that all faded round abouther. Suddenly she was at the end of theline, and home.
Two weeks later, she received word from alawyer in Chicago that he was holding threethousand dollars in American bonds for her.Several years before, an aunt of hers hadgone to Europe, with instructions that thesebonds be turned over to her niece if she didnot return to the United States. The lawyerhad just received word of the aunt's death,and was now carrying out her instructions.A month later, this girl sailed for the islandsin the South Pacific. It was night when sheentered the Bay of Samoa. Looking down,she could see the white foam like a "bonein the lady's mouth" as the ship ploughedthrough the waves, and brought the salt ofthe sea in the wind. An officer on duty saidto her: "There is the Southern Cross", andlooking up, she saw the Southern Cross asshe had imagined it.
In the intervening years, she had , but as she had done thisunconsciously, she did not realize therewas a Law behind it all. Now that sheunderstands, she, too, is consciouslyplaying her four major roles in the dailydrama of her life, producing plays for thegood of others as well as herself."Then the soldiers, when they had crucifiedJesus, took his garments, and made fourparts, to every soldier a part; and also hiscoat; now the coat was without seam,woven from the top throughout." John19:23.
Chapter 3: The Gift of Faith"And the Lord had respect unto Abel and inhis offerings; But unto Cain and to hisoffering he had no respect." Genesis 4:4,5.If we search the Scriptures, we will becomeaware of a far deeper meaning in the abovequotation than that which a literal readingwould give us. The Lord is non-other thanyour own consciousness "say unto thechildren of Israel, I AM hath sent me untoyou Exodus 3:14." "I AM" is the selfdefinition of the Lord.Cain and Abel, as the grandchildren of theLord, can be only personifications of sownreallyconcerned to show the "Two Contrary
States of the Human Soul," and he hasused two brothers to show these states.The two brothers represent two distinctoutlooks on the world possessed byeveryone. One is the limited perception ofthe senses, and the other is an imaginativeview of the world. Cain - the first view - is apassive surrender to appearances and anacceptance of life on the basis of the worldwithout: a view which inevitably leads tounsatisfied longing or a contentment withdisillusion. Abel - the second view - is avision of fulfilled desire, lifting man abovethe evidence of the senses to that state ofrelief where he no longer pines with desire.Ignorance of the second view is a soul onfire. Knowledge of the second view is thewing whereby it flies to the Heaven offulfilled desire.
"Come, eat my bread and drink of the windthat I have mingled, forsake the foolish andlive." Proverbs 9:56.In the epistle to the Hebrews, the writer tellsus that Abel's offering was faith and, statesthe author, "Without faith it is impossible toplease Him.” Hebrews 11:6.""Now faith is the substance of things hopedfor, the evidence of things not seenThrough faith we understand that theworlds were framed by the word of God, sothat things which are seen were not madeof things which do appear." Hebrews 11:1,3.Cain offers the evidence of the senseswhich consciousness, the Lord, rejects,because acceptance of this gift as a moldof the future would mean the fixation and
perpetuation of the present state forever.The sick would be sick, the poor would bepoor, the thief would be a thief, themurderer a murderer, and so on, withouthope of redemption.The Lord, or consciousness, has norespect for such passive use of imagination- which is the gift of Cain. He delights in thegift of Abel, the active, voluntary, lovingexercise of the imagination on behalf ofman for himself and others."Let the weak man say, I am strong. Joel3:10.Let man disregard appearances anddeclare himself to be the man he wants tobe. Let him imagine beauty where hissenses reveal ashes, joy where they testifyto mourning, riches where they bear
witness to poverty. Only by such active,voluntary use of imagination can man belifted up and Eden restored.Theidealisalwayswaitingtobeincarnated, but unless we ourselves offerthe ideal to the Lord, our consciousness, byassuming that we are already that whichwe seek to embody, it is incapable of birth.The Lord needs his daily lamb of faith tomold the world in harmony with ourdreams."By faith Abel offered unto God a moreexcellent sacrifice than Cain." Hebrews11:4.Faith sacrifices the apparent fact for theunapparent truth. Faith holds fast to thefundamental truth that through the mediumof an assumption, invisible states become
visible facts."For what is faith
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