Most animals, however, smell what they see: vision is not very highly developed. They know better by the more direct contact of scent.
And vision in us becomes faulty because we proceed too much in one mode. We see too much, we attend too much. The dark, glancing sightlessness of the intent savage, the narrowed vision of the cat, the single point of vision of the hawk—these we do not know any more. We live far too much from the sympathetic centers, without the balance from the voluntary mode. And we live far, far too much from the upper sympathetic center and voluntary center, in an endless objective curiosity. Sight is the least sensual of all the senses. And we strain ourselves to see, see, see—everything, everything through the eye, in one mode of objective curiosity. There is nothing inside us, we stare endlessly at the outside. So our eyes begin to fail; to retaliate on us. We go short-sighted, almost in self-protection.
Hearing the last, and perhaps the deepest of the senses. And here there is no choice. In every other faculty we have the power of rejection. We have a choice of vision. We can, if we choose, see in the terms of the wonderful beyond, the world of light into which we go forth in joy to lose ourselves in it. Or we can see, as the Egyptians saw, in the terms of their own dark souls: seeing the strangeness of the creature outside, the gulf between it and them, but finally, its existence in terms of themselves. They saw according to their own unchangeable idea, subjectively, they did not go forth from themselves to seek the wonder outside.
Those are the two chief ways of sympathetic vision. We call our way the objective, the Egyptian the subjective. But objective and subjective are words that depend absolutely on your starting point. Spiritual and sensual are much more descriptive terms.
But there are, of course, also the two ways of volitional vision. We can see with the endless modern critical sight, analytic, and at last deliberately ugly. Or we can see as the hawk sees the one concentrated spot where beats the life-heart of our prey.
In the four modes of sight we have some choice. We have some choice to refuse tastes or smells or touch. In hearing we have the minimum of choice. Sound acts direct upon the great affective centers. We may voluntarily quicken our hearing, or make it dull. But we have really no choice of what we hear. Our will is eliminated. Sound acts direct, almost automatically, upon the affective centers. And we have no power of going forth from the ear. We are always and only recipient.
Nevertheless, sound acts upon us in various ways, according to the four primary poles of consciousness. The singing of birds acts almost entirely upon the centers of the breast. Birds, which live by flight, impelled from the strong conscious-activity of the breast and shoulders, have become for us symbols of the spirit, the upper mode of consciousness. Their legs have become idle, almost insentient twigs. Only the tail flirts from the center of the sensual will.
But their singing acts direct upon the upper, or spiritual centers in us. So does almost all our music, which is all Christian in tendency. But modern music is analytical, critical, and it has discovered the power of ugliness. Like our martial music, it is of the upper plane, like our martial songs, our fifes and our brass-bands. These act direct upon the thoracic ganglion. Time was, however, when music acted upon the sensual centers direct. We hear it still in savage music, and in the roll of drums, and in the roaring of lions, and in the howling of cats. And in some voices still we hear the deeper resonance of the sensual mode of consciousness. But the tendency is for everything to be brought on to the upper plane, whilst the lower plane is just worked automatically from the upper.