Nuggets of the New ThoughtTheosophy / New ThoughtMystical / EsotericEnglishShareNuggets of the New Thought 22Project Gutenberg 1902 edition - EnglishMoreVersion - 1 availableProject Gutenberg 1902 editionLanguageEnglishEspañol‹Nuggets of the New Thought 1Nuggets of the New Thought 2Nuggets of the New Thought 3Nuggets of the New Thought 4Nuggets of the New Thought 5Nuggets of the New Thought 6Nuggets of the New Thought 7Nuggets of the New Thought 8Nuggets of the New Thought 9Nuggets of the New Thought 10Nuggets of the New Thought 11Nuggets of the New Thought 12Nuggets of the New Thought 13Nuggets of the New Thought 14Nuggets of the New Thought 15Nuggets of the New Thought 16Nuggets of the New Thought 17Nuggets of the New Thought 18Nuggets of the New Thought 19Nuggets of the New Thought 20Nuggets of the New Thought 21Nuggets of the New Thought 22Nuggets of the New Thought 23Nuggets of the New Thought 24Nuggets of the New Thought 25Nuggets of the New Thought 26Nuggets of the New Thought 27Nuggets of the New Thought 28Nuggets of the New Thought 29Nuggets of the New Thought 30Nuggets of the New Thought 31Nuggets of the New Thought 32Nuggets of the New Thought 33Nuggets of the New Thought 34Nuggets of the New Thought 35›The Solitude Of The Soul.Nuggets of the New Thought 22ListenPlay this chapter in spoken English.Save chapterListen to chapter1Lorado Taft's group--Description--Each stands alone--Each is in touch with every other--Soul communion in silence--Silence is the sanctuary of the soul--The oneness of life and its apparent separateness--The message. 2In one of the rooms of the Art Institute, in Chicago, stands a remarkable group, by Lorado Taft, the sculptor, entitled "The Solitude of the Soul." The average visitor stops a moment and passes on, commenting on the beauty of the figures composing this group. A few hurry past, afraid to look at the figures, for they are nude--as naked as the human soul before the gaze of its Creator. (Some people are afraid of things not hidden by draperies--even the naked Truth shocks them.) But the man or woman who thinks and understands--stops long before this group, conscious that it tells the tale of a mighty truth. 3Around a large rock, stand four human figures--two men and two women. They are so placed that but one figure is in full sight from any given point of view, although the connection between any figure and the two on each side of it may be seen. It is necessary to walk completely around the group to see the idea of the sculptor--to read the story that he has written into the marble. 4Each figure has an individuality. Each stands alone. And yet each is in touch with the one behind, and the one before. Each one is connected with all, yet each one stands alone. One figure extends a hand to her brother just ahead of her, and on her shoulder rests the tired head of the brother following her. Hand in hand, or head on shoulder stand they, each giving to the other that human touch and contact so dear to the soul craving that companionship of one who understands. 5Each face shows sorrow, pain, and longing--that longing for that complete union of soul with soul--that longing that earth-life cannot satisfy. And each feels and knows that the other has the same longing. And each gives to the other that comforting touch that says "I know--I know." Each face shows a great human love mingled with its pain. Each face shows resignation mingled with its grief. It is the old story of human love and human limitations. It is also a story of deeper import--the story of the soul. 6Every lip is closed. Each man and woman is silent. And yet each understands the other. Soul is communing with soul, in the Silence. And in the Silence alone can soul converse with soul. Words cheapen the communication of soul to soul. With those who understand us well, we can best commune in Silence. Hand in hand--cheek to cheek--sit those who love well. The tale of love is told and re-told without a word. Words serve their purpose in conveying the commonplaces of life, but seem strangely inadequate to express the deeper utterances of the soul. The tale of love--the story of sorrow--needs no words. The soul understands the message of the soul--mind flashes the message to mind--and all is known. The fondest memory of the one whom you loved and lost, is not of moments in which he spoke even the most endearing words. The memory most sacred to you is that of some great Silence lived out with the loved one--some moment in which each soul drew aside its veil and gazed with awe into the depths of the other soul. Silence is the sanctuary of the soul. Enter it only with due reverence. Uncover the head--tread softly. 7Each figure stands alone, and yet in touch with all the rest. Each is apparently separate and yet each is but a part of the whole. Each feels the frightful solitude which comes to the soul when first it recognizes what it is. And yet, in that dreadful moment each knows itself to be in touch with all of life. Each feels that intense longing for a closer soul union--a reunion of the separated parts of the whole. And yet each realizes the impossibility of the consummation of that desire at this time--and they show their grief--they place the head upon the shoulder of the other--they clasp the hand of the other--they touch the flesh of the other--all as a symbol of the desire for the union of the soul. 8This group is a symbol of the oneness of life and its apparent separateness. A picture of the in-touchness of each part of the whole, with every other part. A story of the pain of the soul in its awful solitude--of its impotent striving for at-one-ment. A representation of the communion of soul with soul, in the Silence. A tale of the comfort and joy in the presence of another human form. A message of The Brotherhood of Man. All this--and more--is in this group. 9I wonder if the sculptor saw it all, or whether he chiseled better than he knew. Sometimes the Divine in man causes him to write better--paint better--cut better--than he realizes. Others see much more in his essays, stories, poems, paintings, statuary, than the maker knew was there. And the man himself, after years have past again views his work, and wonders at the new story he reads there. He feels dazed at having portrayed truths of which he dreamt not while he worked. There are within us unexplored depths, of the existence of which we do not dream. And from these depths, now and then, rise into our consciousness beautiful thoughts--beautiful images--which we reproduce on paper--canvas--marble. We do not understand these things, and we join with others in the feeling of wonder inspired by the sight of the reproduction of that which came from the depths of our mental being. And some, who have grown closer to the Real Self within them, see beauties in our work to which we are blind. Not until the scales fall from our eyes, do we realize the full meaning of our work. 10Some call this Inspiration. But those who have pierced the veil know that it is inspiration from within, not from without. It is the voice of the Divine spark within man, whispering to the consciousness which is struggling to know better that Higher Self--a whisper of encouragement and good cheer--a portent of the future--a glimpse of the distant light--a bestowal of a few crumbs from the table of the Spirit. 11I know not, I say, whether Lorado Taft knew what he chiseled. I know not whether he is a man of deep spiritual insight. But this I do know, that this group, "The Solitude of the Soul" is the work of the Spirit within this man. And his work carries a deep spiritual message to those who are ready to receive it. And in years to come this message will be understood by thousands, for everyone who receives it to-day. This work shall live long after its maker has forsaken the earthly body that he now uses as an instrument. It will live because it carries a message--because it conveys a mighty truth. ‹Previous chapterNuggets of the New Thought 21Next chapterNuggets of the New Thought 23›Similar passagesBy tradition and source labelFind similarCompare selectedCompare with similarAsk Deep ThoughtSelect passages to search for parallels.Tap any verse to select it, then compare selected passages or ask Deep Thought. Public domain in the United States via Project Gutenberg