The point of present importance in the use of these discriminations is to make clear to the mind of the reader what perhaps is sufficiently implied in the very terms themselves, namely: that Impression and Expression are correlative to, and, in a sense, exactly reflect each other; that the totality of Impression, or the Universe which enters the mind through the senses, is repeated—with a modification, it is true, but still with traceable identity, or with a definite and unbroken relationship—in the totality of Expression, or in the Universe of Art, taken as the entirety of what man does or creates. It is by the mediation of Science or Knowledge, that one of these worlds is converted into the other. Nature or Impression is the aggregate of the Rays of Incidence falling upon a mirror; Science is the Reflecting Mirror; and Art or Human Performance is the aggregate of the Reflected Rays, whose angles can be exactly calculated by the knowledge of the angle of incidence. Science or Knowledge is not only the mirror which makes the Reflection, but it is the plane or level which is to furnish us the means of adjusting the angles; of knowing their correspondence or relation to each other; and of translating the one into the other. Science must, therefore, as it develops, be the instrument of informing us of the exact analogy between Nature and Art; and must enable us so to apply the Laws of Nature, or the Laws of God as exhibited in Nature, that they shall become a perfect canon of life and action, in all our attempted performances and constructions, whatsoever they may be; or, vice versa, it must enable us from the knowledge of the laws of our own actions to reveal the secrets of Nature, and to know, by the analogy, in what manner she acts. It will then perhaps be found that the Moral Code, as dictated by inspiration, is only the forecast, through that method, of what is destined to be more perfectly revealed to the intellect, when the veil is rent by the millennial perfection of man.
It will be perceived by the reader that the term Art is here employed in a larger than its usual sense, although the analogy in question has a special intensification when we confine the term to mean, as it ordinarily does, the choicest performances of man. The term Science has also a larger and a smaller extension. In the larger sense it means the totality of knowledge extracted from Impression or the observation of Nature, and distinguished from mere Impression or Nature on the one hand, and from Expression, Action, Performance, or Art—the reprojection of the knowledge into new forms of being—on the other hand. In the more restricted sense, Science means systematized knowledge, or, still more specifically, the Body of Principles or Laws in accordance with which knowledge becomes systematized in the mind.
The larger and the smaller Art-Performances of Humanity—first, all the Work or Product of the Creative Power of Man; and, secondly, Grand and Fine Art, as the Choice Product of that faculty—are again epitomized in Language or Speech. This last is the Sense-Bearing Product of the Lips and Coöperative Organs, put representatively for the product of the hands and of all the other instrumentalities of action.
It is in this representative sense that Language is preëminently and distinctively denominated Expression. But, as we have seen, Expression is the Equivalent and exact Reflect of Impression; Art, of Nature; through the mediation of Science, meaning thereby the Laws of Knowing. These Laws of Knowing thus hold an exact relation to the Laws of Doing; or, in other words, Scientific Laws to Creative and Vital Laws, which last are the Laws of Administration, human and divine. As an epitome or miniature, then, the Laws of Language must be an exact reproduction of the Laws of the Universe. Language itself, in other words, must be an epitome or miniature image, in all its perfection, of the Universe at large; as the image formed upon the retina of the eye, though infinitely small in the comparison, is an exact epitome or image, inversely, of the external world presented to the vision.
Let the reader guard himself well against supposing that what is here meant is the mere commonplace truth that Language is the equivalent of our Impression of the Universe, in the fact that we can, through the medium of Language, describe, and in that sense express, what we think and feel of and about the Universe. What is here intended is something far more recondite than this superficial relation between Speech, Thought, and the World thought about. It is this—That, in the Phenomena, the Laws, and the Indications of the Structure of Language—considered as a fabric, or Word-World—there is an exact image or reproduction, in a miniature way, of the Phenomena, the Laws, and the Indications of the entire Universe; in so definite and traceable a manner as to furnish to us, when the analogy is understood, a complete model and illustration of the Science of the Universe as a whole.
If this be true, the immense importance of the discovery can hardly be over-estimated. We are furnished by means of it with a simple object, of manageable dimensions, as the subject of our direct investigations; which, when mastered, will, by reflection, and a definite law of relation and proportion, enable us to master the Plan of the Universe; and so to constitute a one Science out of the many Sciences by recognizing the Domains which they cover as parts of a larger domain, which is equivalent to the whole.
Holding fast, then, to this thought, let us proceed to the endeavor so to distribute the totality of the aspects of Language as to exhaust the subject; and, by a concurrent projection of the analogies into the larger domain of the Universe as a whole, to establish a valid scientific nexus between the minor and the major spheres of our investigation.
First recurring to the preceding table, and translating the Abstract Conceptions, Nature, Science, and Art, into their Concrete Equivalents or Analogies, they will stand thus:
| Abstract. | Concrete. |
|---|---|
| 3. Art. | 3. Human Production. (Art Creation.) |
| 2. Science. | 2. Man. |
| 1. Nature. | 1. The World. (The Natural Universe.) |