It is not money, but the love of money, that is the root of evil; and the spirit of opulence is precisely the attitude of mind which is furthest removed from the love of money for its own sake. It does not believe in money. What it does believe in is the generous feeling which is the intuitive recognition of the great law of circulation, which does not in any undertaking make its first question, How much am I going to get by it? but, How much am I going to do by it? And making this the first question, the getting will flow in with a generous profusion, and with a spontaneousness and rightness of direction that are absent when our first thought is of receiving only.
We are not called upon to give what we have not yet got and to run into debt; but we are to give liberally of what we have, with the knowledge that by so doing we are setting the law of circulation to work, and as this law brings us greater and greater inflows of every kind of good, so our out-giving will increase, not by depriving ourselves of any expansion of our own life that we may desire, but by finding that every expansion makes us the more powerful instruments for expanding the life of others. "Live and let live" is the motto of the true opulence.
XV
Beauty
Do we sufficiently direct our thoughts to the subject of Beauty? I think not. We are too apt to regard Beauty as a merely superficial thing, and do not realise all that it implies. This was not the case with the great thinkers of the ancient world—see the place which no less a one than Plato gives to Beauty as the expression of all that is highest and greatest in the system of the universe. These great men of old were no superficial thinkers, and, therefore, would never have elevated to the supreme place that which is only superficial. Therefore, we shall do well to ask what it is that these great minds found in the idea of Beauty which made it thus appeal to them as the most perfect outward expression of all that lies deepest in the fundamental laws of Being. It is because, rightly apprehended, Beauty represents the supremest living quality of Thought. It is the glorious overflowing of fulness of Love which indicates the presence of infinite reserves of Power behind it. It is the joyous profusion that shows the possession of inexhaustible stores of wealth which can afford to be thus lavish and yet remain as exhaustless as before. Read aright, Beauty is the index to the whole nature of Being.
Beauty is the externalisation of Harmony, and Harmony is the co-ordinated working of all the powers of Being, both in the individual and in the relation of the individual to the Infinite from which it springs; and therefore this Harmony conducts us at once into the presence of the innermost undifferentiated Life. Thus Beauty is in most immediate touch with the very arcanum of Life; it is the brightness of glory spreading itself over the sanctuary of the Divine Spirit. For if, viewed from without, Beauty is the province of the artist and the poet, and lays hold of our emotions and appeals directly to the innermost feelings of our heart, calling up the response of that within us which recognises itself in the harmony perceived without, this is only because it speeds across the bridge of Reason with such quick feet that we pass from the outmost to the inmost and back again in the twinkling of an eye; but the bridge is still there and, retracing our steps more leisurely, we shall find that, viewed from within, Beauty is no less the province of the calm reasoner and analyst. What the poet and the artist seize upon intuitionally, he elaborates gradually, but the result is the same in both cases; for no intuition is true which does not admit of being expanded into a rational sequence of intelligible factors, and no argument is true which does not admit of being condensed into that rapid suggestion which is intuition.
Thus the impassioned artist and the calm thinker both find that the only true Beauty proceeds naturally from the actual construction of that which it expresses. It is not something added on as an afterthought, but something pre-existing in the original idea, something to which that idea naturally leads up, and which presupposes that idea as affording it any raison d'être. The test of Beauty is, What does it express? Is it merely a veneer, a coat of paint laid on from without? Then it is indeed nothing but a whited sepulchre, a covering to hide the vacuity or deformity which needs to be removed. But is it the true and natural outcome of what is beneath the surface? Then it is the index to superabounding Life and Love and Intelligence, which is not content with mere utilitarianism hasting to escape at the earliest possible point from the labour of construction, as though from an enforced and unwelcome task, but rejoicing over its work and unwilling to quit it until it has expressed this rejoicing in every fittest touch of form and colour and exquisite proportion that the material will admit of, and this without departing by a hairbreadth from the original purpose of the design.
Wherever, therefore, we find Beauty, we may infer an enormous reserve of Power behind it; in fact, we may look upon it as the visible expression of the great truth that Life-Power is infinite. And when the inner meaning of Beauty is thus revealed to us, and we learn to know it as the very fulness and overflowing of Power, we shall find that we have gained a new standard for the guidance of our own lives. We must begin to use this wonderful process which we have learnt from Nature. Having learnt how Nature works—how God works—we must begin to work in like manner, and never consider any work complete until we have carried it to some final outcome of Beauty, whether material, intellectual, or spiritual. Is my intention good? That is the initial question, for the intention determines the nature of the essence in everything. What is the most beautiful form in which I can express the good I intend? That is the ultimate question; for the true Beauty which our work expresses is the measure of the Power, Intelligence, Love—in a word, of the quantity and quality of our own life which we have put into it. True Beauty, mind you—that which is beautiful because it most perfectly expresses the original idea, not a mere ornamentation occupying our thoughts as a thing apart from the use intended.