In search of the miraculous

of a perfect synthesis, contains within itself all the elements of the laws it represents, and from it can be extracted, and by its help trans­mitted, everything that is connected with these octaves and much else besides.'

G. returned to the enneagram many times and in various connections. dO 'Each completed whole, each cosmos, each organism, each plant, is an

re enneagram,' he said. 'But not each of these enneagrams has an inner

О

triangle. The inner triangle stands for the presence of higher elements, according to the scale of 'hydrogens,' in a given organism. This inner triangle is possessed by such plants, for example, as hemp, poppy, hops, tea, coffee, tobacco, and many other plants which play a definite role in the life of man. The study of these plants can reveal much for us in regard

to the enneagram.

'Speaking in general it must be understood that the enneagram is a universal symbol. All knowledge can be included in the enneagram and with the help of the enneagram it can be interpreted. And in this connection only what a man is able to put into the enneagram does he actually know, that is, understand. What he cannot put into the enneagram he does not understand. For the man who is able to make use of it, the enneagram makes books and libraries entirely unnecessary. Everything can be included and read in the enneagram. A man may be quite alone in the desert and he can trace the enneagram in the sand and in it read the eternal laws of the universe. And every time he can learn something new, something he did not know before.

'If two men who have been in different schools meet, they will draw the enneagram and with its help they will be able at once to establish which of them knows more and which, consequently, stands upon which step, that is to say, which is the elder, which is the teacher and which the pupil. The enneagram is the fundamental hieroglyph of a universal language which has as many different meanings as there are levels of men.

'The enneagram is perpetual motion, the same perpetual motion that men have sought since the remotest antiquity and could never find. And it is clear why they could not find perpetual motion. They sought outside themselves that which was within them; and they attempted to construct perpetual motion as a machine is constructed, whereas real perpetual motion is a part of another perpetual motion and cannot be created apart from it. The enneagram is a schematic diagram of perpetual motion, that is, of a machine of eternal movement. But of course it is necessary to know how to read this diagram. The understanding of this symbol and the ability to make use of it give man very great power. It is perpetual motion and it is also the philosopher's stone of the alchemists.

'The knowledge of the enneagram has for a very long time been preserved in secret and if it now is, so to speak, made available to all, it is only in an incomplete and theoretical form of which nobody could make any practical use without instruction from a man who knows.

'In order to understand the enneagram it must be thought of as in motion, as moving. A motionless enneagram is a dead symbol; the living symbol is in motion.'

Much later—it was in the year 1922—when G. organized his Institute in France and when his pupils were studying dances and dervish exercises, G. showed them exercises connected with the 'movement of the enneagram.' On the floor of the hall where the exercises took place a large enneagram was drawn and the pupils who took part in the exercises stood on the spots marked by the numbers 1 to 9. Then they began to move in the direction of the numbers of the period in a very interesting movement, turning round one another at the points of meeting, that is, at the points where the lines intersect in the enneagram.

G. said at that time that exercises of moving according to the enneagram would occupy an important place in his ballet the 'Struggle of the Magicians.' And he said also that, without taking part in these exercises, without occupying some kind of place in them, it was almost impossible to understand the enneagram.

'It is possible to experience the enneagram by movement,' he said. 'The rhythm itself of these movements would suggest the necessary ideas and maintain the necessary tension; without them it is not possible to feel what is most important.'

There was yet another drawing of the enneagram which was made under his direction in Constantinople in the year 1920. In this drawing inside the enneagram were shown the four beasts of the Apocalypse—the bull, the lion, the man, and the eagle—and with them a dove. These additional symbols were connected with 'centers.'

In connection with talks about the meaning of the enneagram as a universal symbol G. again spoke of the existence of a universal 'philosophical' language.

'Men have tried for a long time to invent a universal language,' he said. 'And in this instance, as in many others, they seek something which has long since been found and try to think of and invent something which has been known and in existence a long time. I said before that there exist not one but three universal languages, to speak more exactly, three degrees. The first degree of this language already makes it possible for people to express their own thoughts and to understand the thoughts of others in relation to things concerning which ordinary language is powerless.'

'In what relation do these languages stand to art?' someone asked. 'And does not art itself represent that 'philosophical language' which others seek intellectually?'

'I do not know of which art you speak,' said G. 'There is art and art. You have doubtless noticed that during our lectures and talks I have often been asked various questions by those present relating to art but I have always avoided talks on this subject. This was because I consider all ordinary talks about art as absolutely meaningless. People speak of one thing while they imply something quite different and they have no idea whatever what they are implying. At the same time it is quite useless to try to explain the real relationship of things to a man who does not know the A B C about himself, that is to say, about man. We have talked together now for some time and by now you ought to know this A B C, so that I can perhaps talk to you now even about art.

'You must first of all remember that there are two kinds of art, one quite different from the other—objective art and subjective art. All that

you know, all that you call art, is subjective art, that is, something that I do not call art at all because it is only objective art that I call art.

'To define what I call objective art is difficult first of all because you ascribe to subjective art the characteristics of objective art, and secondly because when you happen upon objective works of art you take them as being on the same level as subjective works of art.

'I will try to make my idea clear. You say—an artist creates. I say this only in connection with objective art. In relation to subjective art I say that with him 'it is created.' You do not differentiate between these, but this is where the whole difference lies. Further you ascribe to subjective art an invariable action, that is, you expect works of subjective art to have the same reaction on everybody. You think, for instance, that a funeral march should provoke in everyone sad and solemn thoughts and that any dance music, a komarinsky for instance, will provoke happy thoughts. But in actual fact this is not so at all. Everything depends upon association. If on a day that a great misfortune happens to me I hear some lively tune for the first time this tune will evoke in me sad and oppressive thoughts for my whole life afterwards. And if on a day when I am particularly happy I hear a sad tune, this tune will always evoke happy thoughts. And so with everything else.

'The difference between objective art and subjective art is that in objective art the artist really does 'create,' that is, he makes what he intended, he puts into his work whatever ideas and feelings he wants to put into it. And the action of this work upon men is absolutely definite;

they will, of course each according to his own level, receive the same ideas and the same feelings that the artist wanted to transmit to them. There can be nothing accidental either in the creation or in the impressions of objective art.

'In subjective art everything is accidental. The artist, as I have already said, does not create; with him 'it creates itself.' This means that he is in the power of ideas, thoughts, and moods which he himself does not understand and over which he has no control whatever. They rule him and they express themselves in one form or