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Lipton’s Journal/January 31, 1955/337: Difference between revisions
Lipton’s Journal/January 31, 1955/337 (view source)
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But to do this, the genius must make a voyage which is opposed to society. No matter what his own notion of it, he is always attacking society because he is always carrying further our knowledge of the Self. (Note, word echo: Knowledge is now—ledge. It is society’s use of soul-intuition. It is the present ledge, the present petrifaction of what the souls of the past have given us.) But to go into the self is to go against society which demands as the condition of its being that people be as self-less (not unselfish—a very important distinction) as possible in order that they be more malleable. | But to do this, the genius must make a voyage which is opposed to society. No matter what his own notion of it, he is always attacking society because he is always carrying further our knowledge of the Self. (Note, word echo: Knowledge is now—ledge. It is society’s use of soul-intuition. It is the present ledge, the present petrifaction of what the souls of the past have given us.) But to go into the self is to go against society which demands as the condition of its being that people be as self-less (not unselfish—a very important distinction) as possible in order that they be more malleable. | ||
So, the genius always carries with him the fear of Hell which is society’s most poetic symbol of the punishment it gives for above all symbols, even above Heaven which is misty to people while Hell is concrete (this true even for organized religions and Stalinism and Hitlerism which make Hell concrete, and leave Heaven to take care of itself). So, as a poetic symbol, Hell is capable of speaking to the deep self. And the genius moves into beauty—which is danger, and into exaltation—which is terror. | So, the genius always carries with him the fear of Hell which is society’s most poetic symbol of the punishment it gives for above all symbols, even above Heaven which is misty to people while Hell is concrete (this is {{del|tour}} true even for organized religions and Stalinism and Hitlerism which make Hell concrete, and leave Heaven to take care of itself). So, as a poetic symbol, Hell is capable of speaking to the deep self. And the genius moves into beauty—which is danger, and into exaltation—which is terror. | ||
The genius is a man, therefore, who is tormented all of his life by doubt whether he is a saint or a psychopath, good or evil. He is the gambler carried to divinity, for the genius wagers every creative instant of his existence that he is going to heaven and not to hell, and therefore he must be obsessed with feelings of terror and danger. It is a bet to take one’s breath away—not to know never whether one goes to Heaven or Hell, and to be always aware that either is possible. {{ins|What makes a genius is his incredible courage for he is a man who lives always in fear, and yet continues.}} | The genius is a man, therefore, who is tormented all of his life by doubt whether he is a saint or a psychopath, good or evil. He is the gambler carried to divinity, for the genius wagers every creative instant of his existence that he is going to heaven and not to hell, and therefore he must be obsessed with feelings of terror and danger. It is a bet to take one’s breath away—not to know never whether one goes to Heaven or Hell, and to be always aware that either is possible. {{ins|What makes a genius is his incredible courage for he is a man who lives always in fear, and yet continues.}} | ||