power of perception, synthetic in its nature, a complex of relationships not reproducible in linear thought, for the mind is oriented simultaneously in many different directions. Of this order of perception the well-known case of Mozart is a classic example. He is reported to have said of his manner of composing, "I can see the whole of it in my mind at a single glance … in which way I do not hear it in my imagination at all as succession—the way it comes later—but all at once, as it were. It is a rare feast! all the inventing and making goes on in me as in a beautiful strong dream."
TIMELESSNESS
The inspirations of genius come from a failure of attention to life, which, all paradoxically, brings vision—the power to see life clearly and "see it whole." Consciousness, unconditioned by time, "in a beautiful strong dream," awakens to the perception of a world that is timeless. It brings thence some immortelle whose power of survival establishes the authenticity of the inspiration. However local and personal any masterpiece may be, it escapes by some potent magic all geographical and temporal categories, and appears always new-born from a sphere in which such categories do not exist.
No writer was more of his period than Shakespeare, yet how contemporary he seems to each succeeding generation. Leonardo, in a perfect portrait, showed forth the face of a subtle, sensuous, and mocking spirit, against a background of wild rocks. It represents not alone the soul-phase of the later Renaissance, but of every individual and of every civilization which on life's dangerous and orgiastic substratum has reared a mere garden of delight. Living hearts throb to the music penned by the dead hand of Mozart and of Beethoven; the clownings of Aristophanes arouse laughter in our music halls; Euripides is as subtle and world-weary as any modern; the philosophies of Parminides and Heraclitus are recrudescent in that of Bergson; and Plato discusses higher space under a different name.