" 'Seeing' is done in two ways — or in two 'octaves.'
One is 'physical seeing' — perception of physical things by exercise of a
physical faculty which is the focus of two similar organs on one thing, or
'point.' The other is 'intuitive' or 'spiritual' seeing which is done by focus
of 'bi-polarity,' and the circle of the astrological wheel is also the symbol
of the 'frame-work' of this 'seeing.' "
In the first article of this series, we discussed
the point, the line and the circle as the three
foundations of symbolic art. The point is infinite subjectivity; by
correspondence it can be the unknowable, it can be Father-Mother God, it can
be the potential of God-hood of the individual human being. The horizontal
line to the left, from the point, is the process of chemicalization of the
potentials of the point. The end of the line symbolizes the state of utmost
chemicality corresponding to the utmost density of matter in the Universe, our
solar system or the total physical body of the human, the sum total of his
manifested potentials. The circle is the symbol of the infinite perfection of
objectivity. Remember that the horizontal line has polarity; its ends are two
points from which emanation can be made. In the astrological symbol, the first
Point (the Center) initiates emanation by the process of chemicalization; the
second point (the left extreme of the line) initiates emanation by process of
fulfilling the potentials of the center. The drawing of the horizontal line to
the left from the center symbolizes involution; the drawing of the circle,
using that line as radius, symbolizes evolution; a completed circle symbolizes
the inherent perfections of all potentials of the central point in fulfilled
manifestations; it symbolizes the essence of ideality which man seeks to
realize in all of his evolutionary experiences; the circle, in its perfect
beauty, symbolizes the fulfilled manifestation of an archetype — in the case of
our subject, that archetype is humanity. These three symbols are (as symbols)
archetypes; from them all other archetypal symbols are derived.
Design is the cosmic Law of Order applied to the
shape and structure of manifestations. Shape is the external appearance, the
condensation of the form of the matrix; Structure is the interrelationships of
etheric and physical parts and factors of a manifestation. Structure is the
total result of the emanations from the matrix-center and shape is that which
is visually perceived of structure.
All factors of a manifestation are designed
because each factor is significant to the purposes of the total manifestation.
In other words, the design of all parts is in accordance with the laws of the
essential nature of the manifestation; the design of the completed
manifestation is the objectified external appearance of the subjective
archetype. Think about the "design of parts" and "external design" of mammal
(human being, horse, whale — "mammal" being an archetype). In which ways are
their internal and external designs similar? Think of quadruped (leopard,
beaver, antelope, yak); bird (eagle, duck. ostrich, humming-bird); reptile,
insect, fish, etc. consider the tremendous significance of design in the
natural world. Flowers are a fine subject for this kind of study because the
beauty of their design includes that of shape, color, and fragrance; the
fragrance of the flower is as much a part of its design as are its shape and
color. All animal life has a design in its timing for reproduction and
gestation; human life has designs of relationship and work-activities,
intellectual development, and spiritual illuminations. Enjoy yourself thinking
about the manifold designings by which life expresses its powers.
Because our principle subject of study is
astrology, by a pictorial (graphic) art, we will confine our observations
concerning design to those analogies between astrology and the art of painting
which has, as its abstraction, the art of line-drawing. Design is everywhere
evident in the arts music, dance, poetry, drama, etc. — but we must, for
conciseness, confine ourselves to these two arts, which most directly
correspond to astrology.
If we can imagine ourselves exercising the faculty
of sight for the first time and being totally unaware of the identifications
and purposes of material things on this planet we would see, as far as our
awareness would be concerned patches of color. We "see three-dimensionally"
only because we have exercised sight for many incarnations, and except for the
brief period in infancy when we are reorienting ourselves to this plane, we
are accustomed to perspective. But, hypothetically for the moment, being
totally unaccustomed to perspective we would see everything in terms of
two-dimensionality. Looking into your room you see what you recognize as "large or
small" of glass, cloth, wood, etc. Forgetting identity and perspective, the
only "substance" you see is color manifested by the designed shapes of the
things you perceive. Color is inherent in substance, but the design of
substance shapes the color, or colors.
Now — design in astrology — and a beautiful subject it is!
As a factor in the pictorial essence of
astrological symbolism, the circle of the astrological mandala is the
framework for that which the astrologer studies. Remember that the frame-work
of our visual perceptions is the circular extent of our eyes' scope of action.
We do not see through a square or rectangular frame — the design of our eyes
makes it possible for us to see everything through a circle.
"Seeing" is done in two ways — or in two "octaves."
One is "physical seeing" — perception of physical things by exercise of a
physical faculty which is the focus of two similar organs on one thing, or
"point." The other is "intuitive" or "spiritual" seeing which is done by focus
of "bi-polarity," and the circle of the astrological wheel is also the symbol
of the "frame-work" of this "seeing." The astrologer looks at the horoscope
with a focus of both of his generic elements — this focus is the single eye of
understanding; he draws on his intellectual resources to calculate the chart
and study its elements from a technical standpoint but he also draws on the
resources of his memory-of-experiences in past incarnations as male and female
to perceive the spiritual values of the factors contained in the chart. An
astrologer functions as a composite of both polarities when his intuitive
perceptions are ignited by concentration on a chart; he understands the
consciousness of both sexes and is able to evaluate the astrological
indications accordingly. East-west, north-south must be studied in any chart
of any human being. We are all causers and reactors to the effects of
causes —
and always have been. The astrologer, focusing the bi-polarity — the
Center-Point — of his consciousness, is able to perceive the objective and subjective
evaluations of astrological placements and patternings; in other words he
perceives, through the circle of his spiritual insight, the tendencies of the
person whose chart is being studied from the stand-point of his being a
"Causer," and a "Reactor to the effects of causes." The astrologer must know
the life of the Spirit as well as the life of the body (Consciousness and
Action) — "subjective life" and "objective life."
Because a horoscope is what it is (a symbolic
picturing of the interpretation of life-principles by an individualized
consciousness in incarnation), we do not do horoscopes of discarnate persons
or sub-human archetypes. Impress your mind with this thought: The circle is
not the basic design of the horoscope; the cross of the vertical and
horizontal diameters is. The circle is only because the ascendant-radius is,
and the ascendant-radius is only because the point is. The circle is, in fact,
the last factor in astrological symbolism because it is the manifested
perfections inherent in the potentials of the point. A blank circle does not
show the action of bi-polarity, therefore it cannot he considered the basic
design. The basic design must fulfill the purpose of indicating the action of
bipolarity because that action is what life is. All other factors obtainable,
a horoscope can be done without drawing a circle; but to have any horoscope at
all the ascendant-degree is imperative — having the ascendant-degree you
automatically have the cusp of the seventh house. Having these two factors
presents the picture of basic complementation, and that factor, more than any
other, is the design of essential bi-polarity of the individualized
consciousness — the life-essence of life itself.
The horizontal diameter, because it is a line, is
not of itself — and cannot be — a design; but because its extremities touch the
circumference of the circle it serves to create a design within the wheel.
This design of two semi-circles is the arch-symbol of symmetry and symmetry is
the bi-polarity of design;"male-female" is the symmetry of sex and
"masculine-feminine" or dynamic-receptive"or "expressive-reflective" are the
symmetries of gender. This horizontal line which serves to "activate" the
potentials contained within the circle is the symbol of all differences
between the polaric expressions of the universe or, correspondingly, of human
nature. A diameter of a circle does not "divide" the circle into "two things;"
it activates the polarity of everything represented by the contents of the
circle which are, in turn, emanations from the central point. Further, the
diameter, which is the two-fold aspect of the ascendant-radius, is the
picturing of the bi-polarity of the central point, "unfolded" in the simplest
and most direct manner possible. The lower and upper semi-circles, then, are
the fulfilled expression of each polarity — the two, reunited, form the
complete circle which is the total composite of polarity. "Male and Female"
are the words which symbolize the chemicalization of polarity-differences on
the generative plane of being. Now, to consider the design of the bipolarity
of each polarity; keeping in mind always that everything represented in a
horoscope is emanation from the central point:
The relationship between two planets which we
identify by the ninety-degree angle is the square — arch-symbol of congestion
of potentials. In its appearance as we use it, it rests on a horizontal base
and its two sides are verticals — variations of the archetypal symbol of the
Cross — "compressed" within limitations implied by the circumference of the
circle. This registration of the square-design is called "evil" by some
because it pictures a tendency to remain "unexpressive" — therefore "dead,"
which is "anti-Life." The "pain" implied in this registration is the ignition
of potentials by evolutionary forces working through human consciousness in
order that the life-potentials may be released against a "built-in" inertia.
This square, applied to the contents of a circle, touches the circle at four
points (those corresponding to the mid-points of the second, fifth, eighth,
and eleventh houses), the fixed signs of the zodiac, the power resources of
desire-love. The regeneration of these resources is the great "integral magic"
of alchemy — the apex of spiritual endeavor. But these points being
"mid-points," do not coincide with the cusps which, in turn, are emanations of the
"I AM" of the one ascendant-radius. There is only one representation of the
square-symbol that not only coincides with the house-cusps but is structurally
symmetrical and equilibrated: the square whose angle-points are the cusps of
the first, fourth, seventh, and tenth houses — the cardinal signs of the Great
Mandala, which are the structure-points of basic human relationship. And
"inertia" and "counter-active-to-inertia" (the polarity of life-processes) is
represented in this square in a remarkably illuminating way since it deals
directly with the "humanity of relationship."
In the exact center of a piece of paper place a
point. From the point, draw a line horizontally to the left about two inches
long; retrace back to the point and draw another line vertically upward the
same length; retrace back to the point. On the upper side of the horizontal
and on the left side of the vertical write the word "male." Now, from the
point, a two-inch line to the right, back to the point, a two-inch vertical
downward, back to the point; you have created the "lines of force" in the
design of basic human-relationship. Place the symbols of the cardinal signs
appropriately, according to the Great Mandala. Now, the angle made by each
pair of successive lines from the point is a right-angle, the same as is found
at the structure points of the fixed sign square. Aries and Capricorn
represent "inertia" and "action" in this way: Aries is the "male begotten;"
Capricorn is the male begettor.
Give this careful thought: the "tendency to
evil" which is symbolized by the design of the square means this: the tendency
to continue to express from a level of protracted spiritual inertia. When we
do not grow and unfold, we retrogress; retrogression is the supreme blasphemy
because it represents a counteractive to the fulfillments of life. The static
potentials of immaturity must be released and fulfilled, and "immaturity" is
the relative un-fulfillments on any level, octave, or cycle. To look at our
design again, the angles and lines of force in the cardinal figure and the
fixed-sign square:
In the cardinal figure, draw a little arc near
the point connecting the lines representing Aries and Capricorn; draw another
little arc connecting the upper-horizontal and the left-vertical of the
fixed-square. These two arcs enclose two expressions of "right angle;" the cardinal
is "open," the fixed is "closed" — at least as far as relationship with the
entire designs are connected. The Aries-Capricorn right-angle unfolds the
upper-left quadrant of its wheel; the fixed-square right-angle focuses the
up-per-left quadrant of its wheel. Do you see how the design of the square
aspect, in its essential nature, depicts potential for unfoldment and
potential for congestion? Draw arcs in both figures, analogous to these two,
relating Capricorn-Libra to the upper-right quadrant of the fixed-square,
Libra-Cancer to the lower-right and Cancer-Aries to the lower left quadrant;
each open central right-angle of the cardinal "cross" has its potential for
congestion shown in the corresponding angles of the archetypal fixed-square.
These two aspects (polarities) of the square-design show the
"counter-thrust" — against each other-of the dynamic and inertial tendencies of human
consciousness. Every "immaturity" ("child-hood-ness") of consciousness must
transcend the inertial tendency to fulfill itself in the symbolism of the
circle. The dynamic and congestive "angles" in these two figures-since each
angle is a relationship of two factors of the potentials of the point — is the
eternal urge of cosmic polarity through human relationship-consciousness to
fulfill the potentials of the archetype "humanity."
The study of astrological symbols as pictures is
a fascinating mental and esthetic exercise. These symbols, for the most part,
have been used from ancient times as delineations of realizations of
life-principles. This discourse will pertain to the geometric essence of these
symbols as they may be correlated to the geometric values of the graphic Art
of Drawing, the abstraction of the Art of Painting.
After having experienced incarnations for many
ages, we have a subconscious or instinctive reaction to geometrical designs as
picturings of Cosmic principles, actions, processes — and their
chemicalizations in Form. The essential designs which the artist uses to
present his concepts of archetypes are themselves archetypal As a graphic art,
astrology pictures the consciousness of the archetype "humanity"-the basic
resource of all human conceptuality. The archetypal quality of astrological
symbolism ("simple-ism") is such that the meanings of the principles
represented by them become more basically comprehended as the consciousness of
the human being is clarified by the alchemies of regeneration. This
clarification results in a distillation of power which, through artistic
manifestation or interpretation, serves to stimulate, vivify and illuminate
the consciousness of less evolved persons. As the consciousness of the artist
is "impregnated" by at-tunement to inspirational forces, does the power of his
consciousness, released through his artistic work, "impregnate" the
consciousness (inner knowing) of individuals; the result, on both octaves, is
the "birth" of a new level of realization. The response of the artist and of
the individuals to the impact of inspirational forces is alchemy of a subtle,
but very powerful, kind. It is magic that is closely akin to the magic of love
because, in both, archetypes are perceived in degree. The inertia of
self-isolation is decrystallized and the divine is glimpsed. Every such experience
of a person responding to the inspiring power of manifested beauty is a degree
of "Hermetic Marriage" — realization of "re-union with the Higher Self."
Because designs are emanated from line, let us
consider the gender of straight lines, which are the abstractions of curved
lines. The vertical is dynamic and stimulative; the horizontal is quiescent
and receptive. As such, these two symbolize causation and reactor to, or
effect from, causation, respectively. The diagonal which connects a vertical
and a horizontal is the dual-generic reflection of both. (The gender of curved
lines is determined by the quality of the straight line which connects the two
ends.) The vertical, by itself, stimulates what? The horizontal, by itself,
reacts to (or is affected by) what? When the arms of a right-triangle are a
vertical and horizontal the diagonal hypotenuse is opposite to the right angle
and reflects that which is generated by the jointure of the two lines. As such
it is analogous to the relationship of a child to his parents who reflects, to
a degree, the qualities of both father and another. Every straight line
enclosed by a circle ignites the potentials of the contents of the circle;
therefore, the vertical and horizontal diameters together ignite the contents
of the circle in a four-fold way — the quadrants initiated by the cardinal
signs; each semicircle is therefore "ignited" in a two-fold way which results
in the picture of the sympathetic vibration which attracts
Father-Mother-Son-Daughter together to form the "enclosure" of the human-family pattern. Two
kinds of vertical and horizontal are qualified by the four diagonals just as
"man-woman" is qualified as "parentage" by the children they beget.
Designs and line-formations not only imply shape
and form but also action, releasement, congestion, involution, evolution,
staticness, radiation, gravitation and many other kinds of life-action. To be
static means to be "poised between preceding and succeeding movements" — and
movement is cosmic alchemy. Nothing in manifested life is eternally static but
this state of equipoise is just as important as movement because radiation of
power succeeds focus of power. The chemicalized Universe is Nature 's agency
of focussing her powers so, actually, the word "static" means "focalization;"
it does not and cannot mean "dead" or "un-living." From this stand-point, let
us consider a few "static" astrological symbols.
All symmetrical symbols convey an impression of
being static because they are laterally balanced, but there is a world of
difference between symmetrical symbols which are open and those which are
closed. The most static astrological symbols are those for the square-aspect
and the Sun. Of these two, the square-aspect (because it completely lacks
curve or diagonality) is the more static. This square, with horizontal base,
is "all up and down, and straight across" with "inflexible" angles and a
complete lack of fluidity or adjustability. It is the solidification of the
four right-angles inherent at the central point and its "personality " may be
described as: compression, rigidity, leashed power, implacability, heaviness,
im-movability, crystallization, self-righteousness, opinionatedness,
prejudice, fear-ignorance, the "letter of the Law," and gracelessness. Since
its astrological meaning, as a symbol, is congestion of potentials we get an
impression of "strength" from the square-aspect symbol but it suggests
strength that is not being used, muscle and intelligence that are not being
exercised. Love-potential corroded by hatred and self-interest (of the wrong
kind). The square is "definite" and "clear-cut;" so, we recall, are its
effects. When we experience the stimulation of our square-aspects (life-forces
trying to jar us loose from congestions in inertia and immaturity), the square
speaks to us in "his" blunt, forceful, and uncompromising way. "Idle" is like
"square people," who express themselves with definiteness and very telling
effect, but who are somewhat lacking in tact or graciousness. The square is
the picture of "two-times-two" — the essence of formal structure and therefore
the essence of what is known as "classicism" in art. Classic art is
preoccupied with symmetry of structure and clarity of outline, whatever its
medium. Mediocre classic art is "congestion on form" and "lack of
inspirational powers;" great classic art happily weds the two. Aspects, art,
human-nature, or what-not — the square is power in a state of relative inertia;
study drawings that are focussed on the square-design; what is your reaction
to them?
Circular designs, by their essential nature, are
of two principal types; the static-circular is radiative, the mobile-circular
is convolutive. The three arch-radiative astrological symbols are those of
the Sun, the wheel itself and the sextile aspect; the first two are closed,
the third is open. Of the three, the sextile is the most radiative because its
"rays" are not bounded. Only the point in the center of the Sun-symbol makes
it suggest radiation; the circle of the symbol is really a picture of
fulfillment of the potentials of a specific archetype. The astrological wheel
is a "large-scale Sun-symbol" — the lines of force of which are the twelve
basic octaves of "I Am," which, in turn, is the chemicalized potential of the
central point. The three diameters, or six radii, represented in the sextile
symbol are the Spiritual Trinity of the fire and air signs — the masculine
polarity of male and female sex of humanity. It pictures, by its
"unbound-ness," the universality of alchemy centered in the Unknowable,
Father-Mother God or the individual human-being. The effect of radiative design is one of
impact and illumination — the "sensation" which accompanies alchemical
exercise. When you experience the "impact" of an alchemical effort, your
solar-plexus is analogous to the center of the sextile symbol, with
relationship to your body. The emanation from your charged or regenerated
consciousness can extend indefinitely into the world of other people and
conditions If you focus your charged consciousness on one thing or one
condition, then you "bind it with a circle." Look at the Sun, Moon, and stars
when they are shining with full light; look at people's faces when they smile;
what do we do to express a friendly greeting? We radiate by extending a hand
to the other person who takes it in one of his. This is the interlocking of
the fire and air trines of the sextile lines-of-force to create a two-fold
magnetic interchange. Radiative design reaches out to us from the center of
its theme as people reach out to us and we to them. A radiative design
representing an extremely unpleasant subject can repel us, as unpleasant
people do, and as we do when we are unpleasant. When the subject itself is of
an inspirational nature the "sextile radiation" can charge us with an impact
of beauty and inspiration that conveys a feeling of exaltation and renewal.
Study radiative designs in pictures. Let yourself feel their archetype.
Convolutive-circular design symbolizes recurrent
action around the central point. It is more "mobile" than the radiative type
and its inner meaning presents quite a different archetype. In astrology we
have two basic convolutive-circular designs: Cancer and opposition-aspect.
This type of design is, perhaps, the one which most clearly conveys an
impression of "gracefulness" — it is very feminine in quality, being rhythmic
and entirely curved. The original of the symbol for Cancer was the Taoist
symbol called "Yin and Yang;" the enclosure of the two curved figures by a
circle makes it the symbol of bi-polarity of seed (that which is enclosed in
the womb, or matrix) the archetypal mother-word; Cancer, cardinal and
generative, is ruled by the Moon whose basic symbol is a vertical semi-circle;
the line connecting its ends is the vertical of the astrological fourth and
tenth houses-the "line of parentage." Convolutive-circular design, though it
suggests motion, also conveys an impression of monotony-continual recurrence
to and from the center. It is not congestion-as in the square; in a closed
figure like "Yin and Yang" it is the dormancy of energies not yet expressed,
or Cosmic ebb-and-flow from the center and back to it through evolutionary
octaves, as in the opposition aspect symbol. The essence of this kind of
design conveys to our inner knowing the rhythmic "return to rest" — which is
transition, or sleep, which is a "little transition;" it is soothing in
effect, extending out but forever curving in on itself in graceful "foldings"
of line.
The opposition-aspect symbol has something of
the same monotony of the Yin-and-Yang symbol with the addition of a dynamic
factor; the "basic line" of this symbol is the upward diagonal and "rudiment
of aspiration" is thereby implied.
As an astrological factor, this design is focused at three points: the
midpoints of the second and eighth houses and the central point of the wheel;
its essential meaning is: Choice between unregenerate and regenerate
expressions or transmutation of the two poles of the desire (Taurus-Scorpio)
diameter. This symbol, by its continual "flow" from the central point to the
second and eighth houses, implies repetition of experience-patterns, on ever
higher octaves, until regeneracy of the desire nature is distilled. This
symbol, as an artistic design of two circles tangent to each other at the
central point, represents the transmutations by male and by female
individuals, of desire-for-possession through stewardship (Taurus-second
house); and through love (Scorpio-eighth house); each of these points
represents an octave of the potential of desire and. the attribute of love —
this diameter is polarized by the complementary diameter of Leo-Aquarius which
are the personal and impersonal octaves of Love-Power. Think of a motion-
picture of a person in a swing: "two kinds of up" and "two kinds of down" —
starting and ending at the gravitational center; there is a rhythm and pulse
in the "up-and-down" of this type of symbol; it is the eternal aspirational
urge of humanity, "up-surging" from the static "beginning" of each octave.
The most dynamic of all circular designs is the
vertical spiral; this is a line-design of the essence of the circle
perpetuated in time, space and consciousness. It is open, symmetrical,
rhythmic and, more than any other design, it conveys a sense of eternal
progress It is the most ecstatic of all symbols because (and when we study it
we shall see this) it symbolizes the eternal action of cosmic fire,
involuntarily and evolutionarily. The "pyr" of "pyramid" means "fire" and the
equilateral pyramid is the chemicalized form of the equilateral triangle. The
equilateral triangle in turn, is the essential external shape of that which is
represented by the involutionary and evolutionary spirals in two-dimensional
representation. Think of a pyramid: four equilateral triangles whose bases are
the sides of a square; a circle circumscribing the square can be thought of as
the first basic level of the spiral. In your imagination, look down on the
pyramid from the top: this view of the pyramid presents a central point, the
dynamic square of the cardinal signs of the Great Mandala, with its four
diagonal, bi-polar lines. The four right-angles of this square are the
enclosed reflections of the central angles of the wheel made by the
intersection of the Taurus-Scorpio and Leo-Aquarius diameters; they correspond
to the four angles of the static square which are the enclosed reflections of
the central angles made by the intersection of the Aries-Libra and
Capricorn-Cancer diameters. Do you recognize the astrological wheel
in this "view"?
From any one of these cardinal structure-points (son, daughter, father, and
mother-male and female of immature and mature causer and reactor to the
effects of cause) the "begotten-of-God" — involved, incarnated humanity,
commences its return to its "lost Eden," the central point of the circle, the
apex of the pyramid. Humanity, in its Manifested Body, evolves through the
exercise of distilled Love-Wisdom, not to a "vanishing-point" but to the
realization of the source, which is perfect being. The spiralic line
continues, incarnation after incarnation, round and round, through the
patterns of human relationship, through succeeding cycles of experience and of
octaves of consciousness — but always upward from the basic circle which
circumscribes the basic square. As the spiralic circles recede from the
differentiatedness of the basic square, they become smaller and smaller —
continually proceeding toward the undifferentiated unity of the apex-point,
the central point of the circle. Draw a circular spiral, starting at what
would correspond to the ascendant-point of a horoscope, recognize, as you
"evolve" the spiral-line toward the central point, that you are letting go of
chemicalized separativeness and are becoming more and more aware of your
spiritual source, your "God-hood." In chemicalized representation, we do not
see the basic circle or the spiral line. Looking at the pyramid "face on,"
what do we see? The triangle of spiritual identity and attribute — the
power-love-wisdom inherent in each one of the basic human identities of which we all partake in our spiralic evolutionary journey.
So — verticality, horizontality, diagonality,
radiativity, convolutionality, staticness, congestivity, openness, spiralic
ecstaticness, and all the other many qualities that are suggested to our inner
knowing by the directions of all emanations from structure points of design
are the attributes of that which the artist-who-draws and the
astrologer-who-interprets exercise their manifestive and interpretative abilities.
Study astrological symbols anew with the "opened consciousness" of becoming more aware of their design quality. Your
astrological awareness will become more and more sensitized and illumined.
You will find, in time, that you are evolving a sensitive awareness of the
cosmic designs that are inherent in human personality, experience,
relationship, and all processes by which spiritual fulfillments are made. Your
own living, from day to day, will be seen to be a resource for the expression
of your consciousness of the beautiful. Other people, represented by the
horoscopes you study, will assume, in your consciousness, an intensified
beauty and value.
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