75/115 SPIRITUAL CONSCIOUSNESS By FRANK H. SPRAGUE

Darkness, as a phenomenon of the natural world, denotes merely the absence of light, in a relative degree. Even there, absolute darkness does not exist; it only seems to exist when contrasted with stronger light effects. But the phenomenon of darkness is essential to an appreciation of light effects.

The negative element in perception is necessary in order that the positive factor shall be appreciable. One may be fully aware of the true character of a phenomenon, the value of which is purely negative; but that circumstance need not in the least detract from the vividness of the suggestion it is instrumental in conveying.

Likewise, if one considers a picture solely as an effective combination of shadows, correct as that estimate is, as far as it goes, his impression of the artist’s intent is of a wholly misleading character. One construes the instrument as the end. Were it possible to imagine a picture without shadows, it would be utterly lacking in character.

Contrasts are due to the recognition of both the negative element, darkness, and the positive element, light. Neither one, apart from its contrary, can be employed to represent the essential idea of the picture, but both together serve to reveal its beauty.

Light shining through a photographic negative produces a perfect picture; yet an examination of the negative itself reveals no such picture, but, instead, imperfect, and often grotesque images. The finite spectacle of life is the negative through which Absolute Reality shines, to manifest a perfect picture.

Cold, bare facts do not constitute the reality of life. When we view a cathedral window from the outside, it suggests gloom and cheerlessness. We may try to penetrate its dense substance, in the hope of discovering what lies within; but it proves an unyielding barrier to the sense of sight, and refuses to disclose the secret.

We might study it from that standpoint forever, without arriving at a satisfactory conclusion regarding its artistic intent; but, if we change our point of view, so as to approach it from the inside of the edifice, we are instantly attracted by a beauty and warmth of coloring in no way perceptible from the outside. The very forms that, viewed exteriorly, appeared cold, dismal, lifeless, and devoid of expression, when viewed interiorly, are transformed into ideals that manifest absolute beauty.